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misunderstoodnotevil · 4 years

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Series 1, episode 3

To begin with, I find it interesting how Pamuk is said to be a Turkish diplomat instead of an Ottoman one (a quick research showed that in Western Europe they did use Ottomans and Turkish alike) and it's quite amusing (to me) that an actor of Greek descent played the Turkish character.

Let's talk about the episode now, This is where you actually understand that there's not going to be any consistent characterisation of Thomas here. Who has been the one to go against authority so far (shown as a bad thing because how dare he?)? O'Brien and Thomas. Who's the one sneaking behind Gwen's back to bring her typewriter in the kitchen and rat her to Carson and Hughes? O'Brien. Who tries to take Gwen's side? William! What does Thomas reply to the perfectly logical "Why shouldn't Gwen have a typewriter if she wants one?". "Mind your own business." Yes, that's the same Thomas who two episodes previously was proclaiming he didn't want to be a footman any more. We learn servants have to right to privacy, courtesy of Ms. Hughes. Anna, Mr. Bates and William come as the good guys. Everyone else? Not so much. Of course, some are forgiven because they are the good guys. I won't even start with O'Brien's "What's wrong with being in service?" and what follows. Don't get me wrong, I enjoy a villain just as much as the next girl, but -just like Thomas- this is the woman who was humiliated by Cora and Ms. Hughes in the previous episode, who claimed there was no real friendship among anyone "in service". Is this her way of taking her revenge on someone of a lower status than her? As a writer, I always try to find the motivation behind every person's actions. And "yes, she/he is the big bad meanie" sometimes doesn't cut it.

[Matthew is quite taken by Mary. Edith's attempts to seduce him are fruitless. Mary doesn't know which suitor to choose from. Except Matthew. Clearly, he's beneath her.]

Enter Kemal Pamuk. An attaché at the Turkish embassy (read Ottoman Embassy). He's a son of one of the sultan's ministers and he's in England for the Albanian talks. The first time Mary sees him it's like she's never seen a man before. We first see him in a hunting party, where

Thomas carries the tray of food. Dogs seem to want some. If Thomas could get away with it, he'd prefer to sit down and eat the food with the dogs, I think.

* "Is that one mine?" Once again, from the reaction of the participants the audience gets to conclusions; 1. Pamuk is a handsome dude. 2. Mary likes him. 3. Carson wonders if it's alright for "Pamuk to be Thomas"'. 4. Gwen thinks he doesn't look like any Turkish (I wonder how many Turks she knows). 5. Anna thinks he's beautiful. And Thomas knows every little thing that crosses their minds.

[So if you - the viewer- don't think Pamuk is handsome there's something wrong with you. (In later episodes, they try to convince the viewer Lavinia is not beautiful, which, in a way, is even funnier, IMO. But that's for another time)]

Robert calls Pamuk "a treat for the ladies" and "gorgeous Turk". Objectification at its finest (kidding).

In case you wonder why Pamuk doesn't have a valet, it is because his valet remained in London because he doesn't know English, In the meantime, in Pamuk's English there is not the slightest accent. Like, not even a little to show that the guy is a foreigner. But his valet doesn't know English. Why, but because Thomas has to become his valet.

Robert hopes Thomas doesn't mind "helping" Pamuk. "Oh, you know Thomas, milord. He has to have a grumble, but I gather he cheered up when he saw the gentleman.' For one thing, what gentleman? For another, what the bloody hell? "He cheered up when he saw the gentleman"? By now, we, they and the whole world knows Thomas is homosexual. In the closet, but everyone knows. (Except Daisy, because she's what? 13?)

Now, can I say that Thomas is an idiot? Why, yes I can. And Bates' witty remark foreshadows the next scene. Because why not? The epitome of amazing writing!

So, while we are all here wondering what "Turkish culture" is (eunuchs protecting the Sultan's harem? the taboo of homosexuality? the unquestionable eroticism of the hammams?) and why Thomas seems to be so interested in it, Pamuk leads him on, because Pamuk as an aristocrat is a clever bastard and Thomas as the servant (and anachronistically, let's call him gay), is an idiot, who just has to make a move at him so Pamuk can blackmails him to take him to Mary's room and have the story progress. Or it could be that Thomas' experience is solely the Duke and he's as subtle as a thirsty elephant.

As I wrote when I started this, Thomas' sexuality twice now, puts at risk the inhabitants of Downton Abbey. His sexuality is shown as something that leaves him weak and easily taken advantage of. And because it's Thomas (the de facto antagonist by now), it's not exactly a good thing, is it?

"That will teach you to believe what the English say about foreigners. I ought to report you." Pamuk pretended he didn't know how to fix his bowtie, we don't know why he left his valet in London, he was friendly enough and held small talk with Thomas about "Turkish culture". It's as if he [gasp] knew about Thomas' sexuality from before.

This is again where I want to mention that while Thomas is Pamuk’s valet and attempts to flirt with him he seems smaller in heigh than Pamuk, but when he’s advance is denied and is humiliated by Pamuk, he’s in his actual height and taller than Pamuk, despite the fact he seems blank and numb.

Later on, as Robert talks about Mary and her suitors he claims "no one's sensible at her age. Nor should they be. That's our role." I think we can assume Thomas and Mary are roughly the same age. But doesn't the same apply to him too?

Anyway, the only redeeming part in his involvement in Pamuk's seduction of Mary is that he saw her following Pamuk out of the room. If even that. Then again, it had to happen so Mary's story to go forward. Does it change anything for Thomas? He's one of the three people involved. Pamuk dies, Mary has to face the consequences of it for the next two seasons (at least). What about Thomas? What does he learn from this? To stay away from male aristocrats, and not make a move at men until he's certain his affection is reciprocated? Stay away from men in general?

When Anna helped Mary moving the body she considered who they could ask for help. Bates is out of the question, for obvious reasons and "William can't keep a secret and Thomas wouldn't try to." I'm almost looking forward to snarky for no reason Thomas we'll have plenty in the future. Because so far, this second hand embarrassment is nerve breaking.

And, then it's Thomas of course who finds Pamuk dead. Which is followed by some comments about his character. Later on, Robert discusses with Carson about how the maids took the news of Pamuk's death and he says [and I quote] "Don't let the footmen be too coarse in front of them. Thomas likes to show off, but we must have a care for feminine sensibilities. They are finer and more fragile than our own." I am thinking back and try to remember if there was ever any positive comment about Thomas. The answer is no.

I have to be honest here, the first time, some 9 years ago this was the episode I stopped watching Downton Abbey, which is a decision I now regret because I missed watching and being part of the discussion when it was new and exciting. Alas...

"I'll be asking the same question later, so you better have an answer ready."

While Thomas smirks at Ms. O'Brien when she says that, it does make me wonder the kind of relationship they have. "you better have an answer ready" seems to be having an "or else" missing there. So when he does share the story with her the fact that "he doesn't want to get in trouble over that" means that he wants to keep it a secret, both his own involvement and the whole dark affair. Right?

PS I applaud Rob James-Collier for giving an extraordinary depth (and beauty) in a so far one dimensional character.

PS 2 As my lack of knowledge is vast & my horizons are narrow (quoting Jarvis Cocker is a favourite pastime) if anyone can provide info as to what Thomas was babbling about Turkish culture, I will appreciate it.

#Downton Abbey #Thomas Barrow #noteviltexts #1x3 Thomas analysis #Kind of... An attempt #DA watching

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singofsolace · 5 years

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Downton Abbey: the Movie Spoilers Below

So, I saw the movie last night. I didn’t spend a year working at Downton Abbey: the Exhibition just to not go and see the movie. But honestly, I didn’t really like it. Here’s why:

There are too many characters, which means each individual character only got a minute or two of meaningful screen time

“The Royals are Coming” could have been a really engaging plot, but honestly? they didn’t really do anything with it. I couldn’t even tell you the names of the royals, because they spent such little time introducing these new characters/making them feel real.

the servants fighting for the right to actually do their jobs wasn’t that entertaining, because very few of the characters we know and care about even get to have direct contact with guests anyway. so the plot of the Royal Servants taking over the Downstairs only really affected Mrs. Pattmore (who stays in the kitchen regardless), Mrs. Hughes (who still had plenty to do), and the Footmen who serve the dinner. Also, how come Carson was allowed to take Barrow’s job away from him? Like wtf? That can’t be allowed. And then it didn’t matter anyway, because the royals brought their own butler!! So even that was a wasted plot point.

Violet didn’t have enough screen time. Especially since they imply that this was her last time appearing on the screen.

the family barely spoke to each other...?

did the movie even pass the Bechdel test? Maybe when Violet and Mary talked it satisfied the requirements...but otherwise, there were precious few meaningful conversations between the main characters.

but my biggest, most pressing complaint was that THEY QUEER BAITED the hell out of my expectations. Imelda Staunton’s character was QUEER CODED AS FUCK. the whole movie, I’m waiting for them to reveal that she’s gay (gasp!) and that’s why she’s leaving all of her money to her “maid.” They implied at every single turn that the maid wasn’t just the maid, and I was like HELL YES they’re GAY that’s some GOOD SHIT right there!

but guess what?! they weren’t gay!! it was a child-out-of-wedlock story. I was so disappointed I nearly threw my popcorn at the screen.

#downton abbey #downton abbey movie #da #mary crawley #lord grantham #lady grantham #violet crawley #imelda staunton #maggie smith #mrs. patmore #mrs. hughes #carson #downton abbey spoilers #movie reviews

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peroxidepirate-blog · 7 years

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Cinderella

Thinking about that Sleeping Beauty retelling where it’s a gay prince who’s put to sleep until true love’s kiss wakes him, and imagining other variations on fairytales - now I want a trans Cinderella retelling. Think about it.

Cinderella shut out of the family, away from the public eye, because she won’t wear boys’ clothes or let anyone call her Jonathan, and her stepmother won’t see her as Lucinda. Her sisters’ mocking when they find her dressing up in their old gowns, the child they’ve thought of - reluctantly - as a little brother. The nights she curls into her blankets in the empty kitchen, staring blankly at the fading embers, wishing for anything but this.

And then the night of the ball, she sees a shooting star and makes a wish in the garden, and her fairy godmother appears. Spins her tattered shirt and ash-smeared trousers into a beautiful gown. Pulls her hair into an elegant up do, for the first time in Cinderella’s life, because she hasn’t figured it out herself, and certainly no one else has ever been willing to show her. Takes a few minutes to practice dancing in the garden, with the godmother leading (in vest and breeches, long hair in a simple ponytail, top of head just reaching Cinderella’s chin - once those beautiful glass slippers are on her feet), so Cinderella can know what it feels like to dance backwards in high heels.

At the ball she hangs back, worried that she’ll see her stepmother and her sisters (though, she realizes, they might not even recognize her like this). Knowing there are a thousand other girls who (she thinks) have a real chance with the prince. It’s not even about him, truly - the important thing is that she gets to be herself for a night. But then she does catch his eye, from clear the across the room, right over the heads of all those noblewomen who came here in search of a husband. The prince walks forward, the men bow, the women curtsy. Cinderella moves a beat later than the others because she has to remind her body to perform the gesture she usually practices alone in the attic, not the one she’s always been forced to do in public. And just before she lowers her eyes, cheeks burning with embarrassment over her misstep, the prince grins at her. Seconds later, he is taking her hand and asking her to dance.

They dance, and talk, and laugh. The time flies. It’s the most wonderful, magical, amazing night of Cinderella’s life. She could have sworn she was paying attention, but somehow she’s lost track of time, and the clock begins to strike midnight. And she runs, completely heedless of her shoes and her dress and her hairdo, because in a few seconds she’s going to be without any of those things anyway, and the prince will see her as she’s not, and that can’t happen. She trips, twists an ankle, loses a shoe, but doesn’t stop. Not until she’s back in her magicked coach, and then home, in her trousers and shirt, in her attic, sobbing.

The next day, all her sisters and stepmother can talk about is the mysterious woman who danced with the prince. Tall, and beautiful, and no one had ever seen her before. “Like a goddess,” says the kinder of her sisters, and the meaner one scoffs while Cinderella herself barks out a short, harsh laugh that she tries to turn into a cough.

The day after that, of course, comes the announcement that the prince still has one of Cinderella’s shoes. Throughout the kingdom, girls line up to try on the shoe, but it fits none of them. When the royal entourage reaches Cinderella’s family’s estate, she herself is in the attic, trying on an old dress she’s altered to fit herself - though she’s fighting back tears, fearing that she’ll never again have the chance to be herself in public. The kinder of her sisters has seen it, and raised an eyebrow, but apparently she hasn’t told.

In the parlor, the two sisters try on the shoe, each in turn. “It’s too big,” whines the meaner one, and she crosses her arms angrily. “Perhaps the mysterious lady was wearing three pairs of socks.”

The kinder sister stops, blinking. She remembers her youngest sibling, years ago - before her stepfather died - wearing three pairs of socks and trying on her mother’s shoes, swaying in the dressing room to music no one else could hear. She remembers the old dress, her step-sibling’s long fingers stitching late into the night. She remembers the mysterious lady, tall like a goddess, eyes shining like she had just seen the key to the universe. And she puts it all together.

“Wait!” she shouts, jerking her leg away from the slipper they’re moving toward her foot. “Wait. I won’t fit that shoe. But I know who will.”

As she runs up the stairs, the whole entourage follows - the stewards, the footmen, the prince himself, along with her mother and sister.

From her attic, Cinderella hears shouting, and running footsteps, and her stepmother’s shrill voice. “Don’t listen to her. It’s nothing, I promise-”

And then the prince interrupting (and here Cinderella’s heart flutters, knowing he’s so close, and yet so far): “Let her show me.”

“My son-” says her stepmother.

“My other sister-” says the kinder sister.

“What?” says the mean sister.

And the door bursts open.

Cinderella would have changed out of her dress; or brushed her hair, washed her face, shaved; or jumped out the window, but there wasn’t time. So when the door opens, she’s standing in the middle of the room in a patched dress, hair loose around her shoulders, face stubbly and tear-streaked, holding one glass slipper.

The crowd of people stop abruptly, just inside the door. For a long moment, no one speaks, or even moves.

Then the prince comes forward, takes the other slipper from the steward charged with carrying it, and crosses the room. He bows, takes Cinderella’s free hand in his, and kisses it. Then he holds out the slipper, so it’s beside the one she’s still holding, and says, “Madam, I believe this is yours.”

She’s so startled, the slipper she didn’t lose slides from her fingers and crashes onto the wooden floor, shattering into a thousand pieces.

By then it doesn’t matter. Her prince is right there, looking at her with a stupidly besotted grin on his face. “I can’t stop thinking about you.”

“I’m not usually-” she begins, and then stops, unsure how to finish the sentence. She gestures, futilely.

“You’re you,” he says. “Lucinda. That’s all that matters.”

Then she’s in his arms, and they’re kissing, and laughing with joy, while everyone else gapes. But he’s right: she’s Lucinda, and nothing else matters.

And they live happily ever after.

#writing #fairytales #cinderella #trans female character #whoa i wrote a thing #this got away from me #long post

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