Sophy says: Did anyone else just immediately think of this?
HELENA/FISH TANK IS BETTER BECAUSE WHEN HELENA DIES AND DOESN’T DIE SHE DOESN’T DIE AGAIN.
Right, writers… right?
ALSO CLAIRE DANES AND HER CLIP-ON WINGS MADE NO EFFORT AT BEING AN ANGEL.
But really, can we take a moment to enjoy all the gentle and human things Tatiana’s face is doing in this scene as Helena watches the many-coloured fish float about peacefully and without thought, huffs on the glass and draws the thought she can never escape: Girl, just one, because in her world singular stands for plural anyway.
Either that or it’s just Rachel and she’s picturing murdering her. In a really gentle and human way.
Rin says: SHE WAS TOTALLY A JULIET. OR A CHRIS
And even then I was semi-worried she would be a Cook and just eat the goldfish.
Such pretty colours though.
Sophy says: NOW THAT YOU’VE SAID THAT I CAN’T LEAVE HIM OUT:
Sophy says: Basically what made me laugh the most this episode was just watching people try to cope with Helena. Especially Art. Poor Art. He tried food and he got locked up with his own handcuffs. Next time maybe try emptying the sardines out of the can onto say maybe a plate? Or actually don’t bother. Helena probably would have found a way to use the plate to pick the lock anyway.
Felix’s responses to Helena were also highly delightful, particularly his crack about finding her a Ukrainian folk costume to wear which, honestly, I’m slightly disappointed we didn’t get to see Helena in the Ukrainian folk costume both because we didn’t get to see Helena in the Ukrainian folk costume and because I find it a little OOC that Felix didn’t actually have one.
YOU GUYS HE WOULD HAVE ONE OKAY.
But this glaring failure of writing is made up for by what we did get to see which is Helena in the helmet. Which appears to be on backwards. I don’t even know what is going on there and I don’t even need to know. Just like that time Alison was swigging from a minibar bottle at her rehearsal, Helena showing up at Art’s door with a helmet on backwards is made all the more hilarious/adorable by the fact that no explanation is offered.
Also can we just. Helena HISSED at Felix. And smirked about it. Whilst lounging on the couch YOU GUYS SHE IS PART OF THE FAMILY SESTRAS AND BROTHER SESTRA IT’S HAPPENING.
And okay well Felix is still slightly terrified of her and side-eyeing her all over the place which is TOTALLY LEGITIMATE. But honestly that just makes me love two things even more: first the fact that Felix can be terrified of someone with crazy-reasonable grounds, but still love Sarah and trust Sarah’s judgement enough to agree to be left alone with her. You guys they are bonded peas those two. They could have all the fights in the world and they would still be bonded peas and Sarah would still rely on Felix like she relies on nobody else in the world and he would still follow her anywhere and if he left he would come back to wherever she was if she needed him because BONDED PEAS FOR LIFE.
Um. Okay. And the other thing I love is that Sarah’s willingness to leave Helena with Felix, who is easily the person she loves and values and needs most in the world apart from Kira, shows how much things have changed with that relationship – the one between Sarah and Helena. Helena saving Sarah’s life without question or rebuke even after Sarah had sought to end hers means a lot to Sarah. And I don’t mean that in a literal sense where she’s glad she’s alive and not strung up in a bloody bathroom for the next person to come along and cut off her ear – though of course she is. I don’t mean it in a sappy kind of way either, where she’s so grateful to Helena that she has ceased to have fears about the fact that she’s a lunatic or resentment about the fact that she murdered her birth mother before they even got to have a proper conversation let alone braid each other’s hair and play snap.
The reason things have changed so much between Sarah and Helena as a result of Helena saving her is this: Sarah is beginning to understand her. She is beginning to know that what makes Helena tick is this newfound sense of belonging and that what matters most to her in the world is that her sister is okay even if she hates her and wants her dead. Or perhaps because Helena does, in her own way, understand why Sarah did what she did. Perhaps because she understands that Sarah doesn’t understand why she needed to do what she had done. Perhaps because she knows that if her sestra ever could understand her just a little bit she would love her and everything would be okay.
Helena has always been a creature of faith. She believed in herself as a avenging angel. But when all of that came tumbling down she didn’t so much lose her faith and she transferred it – to Sarah – to sisterhood. And I think for her that means that no matter what Sarah does she believes herself to be loved by her, because her own love is that strong, that instinctive, that deep-rooted that it couldn’t possibly fail to be mirrored in the other half of who she is.
Helena didn’t kill Amelia to hurt Sarah. In fact, I’m pretty sure that if she’d been aware of how much Amelia meant to Sarah she might have thought twice. But regardless, Helena killed Amelia because she perceived her as their enemy – not just her enemy – the enemy of her sisterhood. In her mind Amelia had willingly delivered her into solitude and self-torture – into a life of indoctrination and cruelty that was never meant for her – a life in which she and Sarah were not together as they should have been. Killing Amelia meant killing that life and was, for Helena, an affirmation of her love for and faith in Sarah.
And okay wow I’m taking this ‘Biggest LOL’ category off on a tangent aren’t I? But whatever. What I’m trying to say is that at one time Sarah saw Helena as her enemy because she killed something she loved – something she’d been dreaming about her whole life. But now she recognizes that although what Helena did hurt her very badly, it was never intended to hurt her – that hurting her is penciled in for ‘never’ in Helena’s diary – and that therefore as long as Felix is properly identified as her family he will be their family and he won’t be harmed. He will, in fact, be protected at all costs.
This is the faith Sarah has in Helena now. And it is rewarded at the end of the episode. More on that later OH MY GOD.
Oh and hey, did anyone else catch the parallel between Helena and Kira and their socks in this episode? It might not have been intentional but it definitely linked the two of them up in my mind.
MUCH LEG ROOM.
THESE I LIKE.
MEATHEAD. DO NOT CALL ME THIS.
I JUST. ALL OF IT YOU GUYS ALL OF IT UNTIL THE END OF TIME?
Oh and can we just have a moment of extremely loud giggling and squealing for the fact that Helena made actual grunting noises at Art and ART’S FACE?
Meanwhile that line was interesting. “He lies down with pigs.” I always suspected there was more to Art’s relationship with Beth than just the professional or even the friendly, but I don’t think that was ever confirmed in season 1. It seems like we might be headed that way, considering that Helena’s random statements generally aren’t random and doesn’t she consider all the clones that aren’t her and Sarah to be kind of… dirty beasts?
It’ll be interesting to see how she responds to Cosima and Alison now – whether breaking from the religious nutso side of things has made her see things differently – and especially whether these people having become something like Sarah’s extended family will have any effect.
Rin says: Are you confused by the helmet because it’s a helmet, or because of it possibly being on backwards and what is that fluffy thing sticking out of it and WHY IS SHE SO CUTE? Cause they rode the bicycle there right, and I just imagine Felix being the CUTEST ever when Helena insists on riding and he just shoves it on her head as if she was a child.
I love Art getting to slowly meet all of the clones, but I’m also wondering how on earth he seems to be all water off a ducks back about it. And I’ll try not to be too paranoid about it, but shouldn’t he be freaking the fuck out about something like this? And going to the FBI or the CIA or Homeland or TO THE PRESIDENT and being like, hey dude, there are clones? Lots of people have been killed about it, one of which was his partner? Okay sure, it makes sense that he didn’t go higher up because of not knowing who to trust and stuff, but still. I would expect more freaking out. THERE ARE MULTIPLE TATIANA MASLANYS AROUND YOU ART. STOP BEING SO COOL ABOUT THAT.
The way Helena eats is probably my favourite thing on earth. And I like that they continue to find different kinds of foods to make her hilarious, as if they’re escalating each time to figure out ways Helena can be as gross/best about food as possible. Mustards on sardines in a can. Mmmmmmmmmmmm.
Sophy says: (“YOU DON’T LIKE PICKLES WHAT’S WRONG WITH YOU?” Helena likes pickles Elena.)
I kind of assumed they went on the bike BUT THE HELMET WAS STILL A SHOCK OKAY? BECAUSE LOOK AT HER OKAY?
I like your theory about Felix putting the helmet on her. I like it very much.
I kind of like the idea that Art is just smart enough to see that this isn’t something he can sort out on a bureaucratic level, mostly because Beth KILLED HERSELF over it and I know she wasn’t meant to be the most emotionally stable of women but still… walking in front of a train is desperation. And desperation is when you can’t trust even the people who are supposed to help you.
But okay gee wow thanks. Now you have planted a seed of Art-paranoia in me. It grows.
“You make me cry, sestra.”
Sophy says: SHUT UP HELENA. SHUT UP YOUR FACE YOU AND YOUR STUPID SESTRA MAKE US CRY YOU ARE THE WORST GO AWAY.
Sometimes things I love make me very angry. THIS SCENE MADE ME GNASH MY TEETH WITH AFFECTIONATE RAGE.
I don’t think I will ever get over the fact that Sarah’s faith in Helena was rewarded. And it really, really is. Because let’s think about this, okay? It wasn’t Sarah who shackled Helena. The handcuffs were Art’s decision because Art is a cop and they were sanctioned by Felix because Felix is sensible and does not understand.
Helena does not respond to force. Or she does, but in exactly the way you don’t want her to. You hit her she will hit back harder. You restrain her and she will break free and leave you the one in chains. You cannot force obedience in her, you can only convince her to do what you want. The church achieved this by indoctrination from childhood. Sarah achieves it by love.
It’s not as though she wraps her up in a blanket and kisses her cheeks and makes her soup. But Sarah shows Helena more love than she has ever had by accepting her – into her home, into her life. She shows her trust. And respect. (Make no mistake, calling her ‘meathead’ is love, trust, respect. It’s building a history. It’s taming the wilder times. It’s laughing with each other. It’s what families do.)
Helena would always protect Sarah no matter what and she’d do it because she loves her. But Sarah loving her is why she protects Felix. Because she has been given a chance to be a human being – to have relationships – not be left out in the cold. And it matters to her.
Sarah didn’t just tell Helena that Felix was her brother and expect her to understand that and honour it. She created a direct line between them. She said he was ‘one of our sisters. Family.’ So when she tells her now that Felix is in danger, that if she kills Rachel she will be hurting him, Helena doesn’t think to herself ‘Person who matters to sestra’. She thinks ‘Brother sestra.’ She identifies Felix as hers.
And more than that. She identifies him as the symbol of her bond with Sarah. Because Sarah gave him to her. Really, you guys, let’s think about this. Felix isn’t related to Sarah by blood (as far as we know). Which means that he is not related to Helena by blood. Which means he actually has no relation to Helena whatsoever. Felix and Sarah’s bond is all about a shared life – a life that has nothing to do with a missing twin sister. That twin sister has no claim on that bond, no claim to anything to do with Felix. She is irrelevant.
Unless she is made relevant. Which is exactly what Sarah did and exactly why her brother is safe and she has a sister she finally knows she wants.
Because you guys there is no way that Sarah didn’t want Helena all along. There is just no way. We know how much family means to Sarah. We know how devastated she was that she lost her chance to know her birth mother – devastated enough to kill her killer who just happened to be a sister who was taken from her too, just as brutally, just as unfairly, even if she didn’t know it at the time.
Sarah has been mourning the loss of Helena from the moment she found out she was her twin. Because given what she was capable of and what she wasn’t capable of – what she appeared to be capable of and what she appeared not to be capable of – Helena may as well have been dead. Sarah was never going to meet the sister she lost – the girl she would have grown up with. She couldn’t possibly trust Helena, not when there was so much at stake. It would be madness to try.
And then she killed her. Like how maybe someone kicks down half your sandcastle and maybe you kick down the rest because what is even the point anymore? Killing Helena was a declaration of hopelessness for Sarah. It was saying there is no way back. It was an action without faith.
And then the miracle happened. Helena came back to life – back to her. She saved her. She didn’t judge her or resent her. She didn’t threaten or demand. She just killed the man who was going to hurt her sister and put her arms around her and didn’t let go. That’s when Sarah began to hope, despite herself. Something impossible happened before her very eyes and it was like that was enough for her to believe in the possibility of family – blood family that was made exactly as she was – with her – who would be with her always.
I think it’s genuine when she tells Helena that she felt a loss when she was dead. No, I know it’s genuine. When Tatiana Maslany bares her soul she bares her soul and there can be no doubt that whichever clone she is playing is telling the whole truth, nothing but, etc. It’s just that Sarah didn’t realize it until right in that moment. She didn’t realize what that aching inside her was – that sense that a part of her she never knew she needed had been removed. She didn’t know she loved what she wished her sister had been to her.
AND NOW SHE BELIEVES IN HER, YOU GUYS. BECAUSE SHE WISHES ON HELENA AND SHE WINS.
The catharsis of Sarah saying please to Helena and Helena giving her what she wants is just… breathtaking. And ‘You make me cry, sestra’? It’s one of those lines, you know? One of those lines of dialogue that stands out even in a show that is consistently beautifully written. One of those lines of dialogue that is exactly right and is delivered at exactly the right time and in exactly the right way that will stick with you long after the show is wrapped and the actors have moved on to new projects and your DVDs have started to get scratches on them and you still think You make me cry, sestra and gnash your teeth with affectionate rage.
AND CAN WE JUST LOOK AT SARAH’S FACE PLEASE, THE ONE WITH THE SMILE ON IT AS SHE LOOKS AT HER SISTER AND IS SO FUCKING RELIEVED AND PROUD AND GLAD TO HAVE HER? CAN WE LOOK AT THE TWO OF THEM WALKING AWAY IN PERFECT TIME? CAN WE LOOK AT HELENA’S BLONDE MOP OF A HEAD ON SARAH’S SHOULDER?
YES WE CAN.
Rin says: THEY ARE SO BEAUTIFUL WHAT IS WRONG WITH THEM WHAT IS WRONG WITH YOU TATIANA MASLANY STOP FUCKING HAVING SO MUCH CHEMISTRY WITH YOURSELF!!!
But also can we talk about how in reality Tatiana is making Tatiana cry and how absurd it is that we have a show like this in our lives? When did we get so blessed?
I love love love that you say Sarah always wanted Helena because it’s true. And that when the show went there with Sarah it clicked in our brains because no matter how much of a monster Helena appeared to be at the time — she was still Sarah’s family. Something she has never had but has always craved and when she finally finds them, one of them has killed the other and now she has no other option but to kill her. Talk about a raw deal.
But now she has her back and it’s not as easy as it was before. In the beginning Helena was more monster than human, but with a little bit of positive reinforcement she’s developing more into a person than she’s ever been before. She’s been given the space and time to grow and now that Sarah understands her and what Helena means to her, I feel like we’re going to see Helena blossom into the person she was meant to be. She’ll always be ruthless and a little rough around the edges, but I see her becoming the class protector of the group. She’s going to start fighting for the ones who look like her, instead of cutting them down. And that is a very exciting notion.
Honestly, what will happen when Alison and Helena meet? Will the world implode? Please happen asap.
Cutest nickname ever of all time the end thank you.
What The Dickens?
COULDN’T THEY JUST SEND HER TO HER ROOM WITHOUT TV?
Sophy says: Quick question: would you rather a) have your lips sewn together and only ever drink protein shakes through a straw and learn sign language or b) never get to watch TV again ever as long as you lived. And not in a way where TV didn’t exist, in a way where it existed and everybody else had it and you didn’t.
One of life’s imponderables.
But seriously, as much as I don’t condone attempted murder and much less attempted murder of fabulous Meatheads, this is way harsh. And it led me to reflect on the fact that although nowhere near as fabulous nor as meatheaded as Helena, Gracie’s kind of trying to do what Helena was trying to do last season: kill off abominations that look like Tatiana Maslany in the name of the lord? Only the freaks who indoctrinate her don’t want her to do that. Hence the unfortunate lip situation and living in a cupboard. THESE PEOPLE ARE SUCH DURSLEYS.
Except maybe worse. Because no one ever threatened Harry with carrying a child if he didn’t behave. PROBABLY ONLY BECAUSE IT WAS IMPOSSIBLE.
I WOULD CARRY TATIANA MASLANY’S CHILD.
And just briefly while we’re in this neck of the woods, was anybody else shocked and appalled by how adorable the scene between Gracie and Creepy God Boy was in which he said he fed her milk through a straw and kissed her on the cheek and told her it didn’t matter to him what she did and she smiled that little smile and IT WAS THE CREEPIEST CUTE THING I’VE SEEN IN A LONG TIME?
SCENES LIKE THAT JUST SHOULD NOT HAPPEN WHEN PEOPLE’S LIPS ARE SEWN TOGETHER GOD WHAT IS WRONG WITH THIS SHOW?
Rin says: These people probably don’t even have TVs, that’s how evil they are.
WHAT? I THOUGHT YOU FUCKING LOVED THE DURSLEYS. DUDLEY IS YOUR FAVOURITE CHARACTER.
I hate Bob and think he’s the fucking worst, but his wife is starting to pull ahead isn’t she? We should really count our lucky stars that the worst thing our parents did to us was smack us with a wooden spoon, seriously.
Also my answer is A.
Sophy says: Dudders
Sophy says: So basically the Paul/Rachel sex scene was one of the worst things I’ve ever had to sit through. I was physically cringing during and giggling in that uncomfortable way you laugh at things when you don’t know what else to do. Afterwards I felt kind of queasy and I couldn’t work out why because I’ve seen things that were kinkier and angrier and more explicit, so why was this particular scene bothering me so much?
Was it the fact that Helena was watching through binoculars and smooching barbie-heads? No! That made it much easier to get through and in fact Helena should always watch everything through binoculars and smooch barbie-heads.
What I realized the next morning when I woke up was that Paul basically got raped and that was why the scene had made me feel so awkward and sad and confused about Tatiana Maslany’s face.
Look, here’s the thing. I hated Rachel for a couple of days after this episode. I mean I hated her, to the point where I was thinking all sorts of nasty thoughts about how I didn’t like the actress who plays Rachel as much as – yeah, I really thought it for a half a second before I realized. (That everybody is Tatiana, not that I’m a crazy bitch.)
But yeah. I hated Rachel because I hate rape. I hate cruelty. I hate humiliation. I hate watching people take advantage of the weakness of others and I especially hate watching them do it just because they can. Rachel’s actions in this scene disgust me on a visceral level that has absolutely nothing to do with the kind of sex she likes to have and everything to do with the fact that she enjoys hurting people.
I’ve seen a lot of people compare this scene to the sex that Paul had with Beth under false pretenses or the sex Sarah had with him under false pretenses. I don’t think it’s a worthy comparison at all. First of all, lying to a sexual partner about who you really are isn’t rape. It’s violating and wrong and I hate it a lot but I don’t think it’s useful to say that it’s rape simply because where do you draw the line?
I’ve discussed this in TVD recaps and on tumblr in the context of what Damon did to Caroline in season 1 and if you’re curious then yes, I do think he raped Caroline, but I also think the word doesn’t matter to me all that much. What matters to me is that he was cruel and contemptuous in a sexual context and that this cruelty and contemptuousness was not part of some roleplay Caroline had previously agreed to. That was what got me. That and the fact that he compelled her not to mind that he was a vampire instead of compelling her to forget it, which is different from just lying about who you are. I remember discussing in that context the fact that though many of us would like to call it rape when one sexual partner deceives another, it is a really problematic road to go down. Because sure, the psychopathic pedophile who’s only ever told his wife the truth about what flavor Gatorade he likes best, he’s abusing that woman every time he has sex with her. That is painfully clear to me. But what about, say, Don Draper on Mad Men? Did he rape every woman he slept with who never knew who he really was? Did he rape every woman he was cheating on every other night? What about a man who secretly thinks his girlfriend’s ass is kind of flabby and lies and says it looks great and closes his eyes and pictures Tatiana Maslany’s???
It’s skeevy as hell that Paul slept with Beth on command from an organization who were using him to spy on her. It’s skeevy as hell that Sarah used sex as a weapon of distraction while tricking an apparently innocent man into thinking she was his dead wife without so much as batting an eyelid. These are both terrible and gross things. But I don’t think we can say that they are rape.
And whether we do or we don’t… whilst these are the actions of callous, selfish people, arguably, they’re also the actions of desperate people.
Paul is being blackmailed. He is depressed. Probably suffering from post-traumatic stress disorder. He does this horrible thing to Beth because he feels he has to do it to stop his world from crumbling down, and he tells himself every day that it’s not that bad, that he does really care about her, that he doesn’t even know what the organization is doing with this data, that it’s probably nothing nefarious, that maybe they just need her to be unaware so that some survey isn’t compromised, that Beth will never know, that she is happy – or as happy as she ever is – that she wants to be with him and he is still himself, isn’t he? Or he’s as much himself as he has been since Afghanistan.
Sarah has a child who needs a mother who is not on the run and in debt to very dangerous people who will probably wind up using her as leverage if she doesn’t fix shit and fix it fast. She makes a snap decision to take over her doppelganger’s life after she leaves it and from that moment on she is locked into the game. There is no going back. There is no coming clean. She has to protect herself and her family at all costs – even if it means doing this horrible thing to this poor man who doesn’t even know that the woman he loves walked in front of a train and is never, ever coming back. She tells herself it’s just sex. She tells herself he likes it because he does really really like it. She tells herself maybe he’ll never know and if he ever does she’ll be sorry but her daughter will be safe.
Neither Paul nor Sarah wants to do this. Neither Paul nor Sarah chooses it – not in the sense where all options are open to them and this is their design, okay? Neither Paul nor Sarah is cruel about it.
Rape is about power. It’s about taking someone else’s power away to assert your own. Rachel requires sex of Paul just as she requires everything else she wants of him. He is her slave, to the point where he is expected to make threats against his chosen allies and to carry them out where it is deemed necessary by somebody other than him. Now you could argue that Paul has a choice in that he could choose to leave and let Dyad dig up whatever exactly happened in Afghanistan that he is so afraid of. I’d argue that that isn’t a real choice and that if you think it is you’re basically saying blackmail is an A-OK form of business transaction. But regardless, the fact is that that choice is no longer open to Paul. He is in far too deep now to walk away without consequences – in fact, he was probably in too deep to walk away from the initial deal once they’d offered it to him. And when I say consequences I don’t mean the authorities being notified about the friendly fire incident. I mean consequences like being executed. I’m sure this has been clear to Paul for quite some time. But just in case it wasn’t, Daniel told him explicitly that if he went against them he would be dead.
So what choice does Paul actually have now? It’s abundantly clear that Rachel is a cruel lunatic, because only a cruel lunatic forces somebody into sex and takes pleasure from it. Why on earth would Paul trust that she would respond appropriately if he refused her instead of going all Queen of Hearts on him?
He did what he had to do in the moment when he obeyed her commands passively. When he tried to touch her he was trying to please her. When he held her throat he was trying to please her too – and maybe trying to keep her hideously beautiful face away.
Paul was raped. If a slave tries to please his master he is a no less a slave for it. If a slave tries to please his master in order to gain his master’s trust and affection and then destroy his master and everything he stands for thereby freeing himself and his fellow enslaved and those who are still running? He’s still a slave. He’s just a really awesome one.
What I’m saying is that even if Paul believed he could get away with saying no to Rachel here without any serious risk of reprisal and that’s a big, big if… even if, in that context, he chose to use his body as a weapon and sex as a battle in a wider war… that is still not consent. When your choices are abject submission, partial submission or apparent full submission in pursuit of actual freedom, you don’t have any real choices. Because they have all been halfway made by your oppressor already.
This is why I hated Rachel for a couple of days after watching this episode. Because she took a broken man and stomped on the pieces of him as best she could. Because she used what was left of him after he’d been used already in her name and by the same people who use her.
But then I thought about what her life has been. I thought about the fact that she was once that smiling little girl on that video tape. I thought about the fact that she has been violated. I thought about the fact that the project wasn’t the only thing that was orphaned by fire. I thought about the fact that she’s come to this miserable place where power is a thing she plays vicious games about but never really has. I thought about the fact that she and Paul have both been traumatized and enslaved and that they are both willing and secretly sick about it.
When I looked at it from her perspective my heart kind of broke for her. I still find her actions to be wrong. They still nauseate me. But I get it. I understand. I sympathize, just a little – just enough, I guess.
That’s the brilliant thing about the characters on this show. They all do terrible things – or nearly all, anyway – but we don’t just see plain terrible people when we look at things from their perspective.
But at the time all I could think about was how much I hated Rachel and how badly it hurt me to see this happening to Paul, even with all the wrong he’s done, and whatever endgame he may have in mind. Just like at the time Paul had Felix pinned face down on the sofa and was pressing the gun into his hand and Felix was crying and pleading with him and so afraid all I could think about was how much I hated Paul and how badly it hurt me to see this happening to Felix (no matter what kind of endgame my Felix Paranoia causes me to imagine him to have).
But later, when I decided there was no way Paul had just gone to Taiwan and switched sides, when I decided that everything he’s doing is being done to crush Dyad once and for all and the ends justify the means because they have to… then I just felt so sad for him and for everyone on this show who has had their power taken away and for every ugly thing they will do to take it back.
(And on the subject of my Felix paranoia, I later found it rather curious that he repeatedly told Paul he was sorry, which honestly just seemed like a strange thing for him to say so very earnestly in that context instead of please, to the point where I went back to check if Felix had said anything really awful to Paul prior to getting assaulted and he really didn’t go beyond his usual snark and I just… WHY IS HE SAYING HE’S SORRY LIKE THAT? SHHH. SHHH. I’M STEPPING AWAY FROM THE FELIX-LEDGE.)
Rin says: I don’t really have much to say
Except I hate Rachel and am not as sympathetic towards her. She could die and I wouldn’t feel sad about it. I find it easy to empathise with people and see all of the roads that have led them to this point — but if I’m going to actually sympathise with them I need to be able to see redeeming qualities. I see none in Rachel and honestly wouldn’t even want a redemption arc for her, not that I think she’s going to get one. And I like that though.. I like that there are genuinely bad clones too, because odds are that if you’re making so-many clones you’re eventually going to get a bad egg (HAAHA).
One of the cooler things about this show is how all of the mains have the same face, making it impossible to judge each character by their appearance and we have to focus on who they are as people alone. Even though like Sophy said, Tatiana as Rachel kind of makes you hate Tatiana a bit and thus is the brilliance of Tatiana. Sometimes I feel like we’re talking as crazy as the prolitheans and we could start a Tatiana cult if we wanted. But it’s interesting that we can have such strong feelings about these different characters despite how similar they might be on pen and paper. Helena has killed people, Rachel hasn’t — though she does order others to do it for her and that’s probably just as bad. But god it’s just the way Rachel is as a person and her cruelty and abusive ways that make me want to shave her stupid hair off. I’m pretty sure we’d all feel safer with Helena than we would with Rachel at this point, and that is saying something.
Sophy says: This is one of those Rophy moments. Where it’s all…
Sophy says: BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLHA BLHA BLAH BLAH BLAH BLHA BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLHA BLHA BLAH BLAH BLAH BLAH BLAH BLAH BLHA BLAH BLAH BLAH BLAHBLHA BLAH BLAH BLAH BLAH BLHA BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLHA BLH BLHA
Rin says: Cool.
We’re Not All Tatiana Maslany
The best big gay music video ever.
Sophy says: Okay so wow, I wish my sex dreams were half as fabulous as Felix’s sex reality. Well, minus the part where he and ‘Morguey’ got interrupted by snarky law enforcement officials before any oily fingers could be put to good use.
‘MORGUEY’ THOUGH. I’m never going to call him anything else. And not just because I can’t remember what his actual name is.
But seriously the entire sequence was a 1980’s power ballad dream. Felix jumping into his best skinny leopard jeans. His serious-faced fourth-wall-breaking as he swooshes the red bedsheet glamorously. Applying makeup with cigarette. Rushing undergarments out of the bathroom. Spraying perfume from a bottle with one of those actual puffy things on the end of a string BECAUSE WHAT THE HELL OTHER KIND OF PERFUME BOTTLE WOULD A FELIX DAWKINS HAVE? ‘That all depends on what you’re scared of.’ /Minxy smile
AND THEN THERE WAS DANCING AND KISSING AND GROPING LIKE A TEENAGE POPSTAR AND A TEENAGE GEEK AND FALLING ABOUT THE PLACE GIGGLING AND ALL THE WHILE FREAKING TEARS FOR FEARS IS PLAYING AND IT IS THE ACTUAL BEST THING EVER.
MORE BIG GAY MUSIC VIDEOS PLEASE, SHOW.
Rin says: This is the montage that so many girls get in every movie and tv show ever when they’re preparing for a date and it is the honest to god best that we got one for Felix.
The most perfect thing would have to be his perfume bottle. It was all too much and not enough at the same time.
Second best was the guy with lube on his hands getting interrupted yet again. Oh man.
We’re Not ALL Tatiana Maslany
The other best big gay music video ever.
Sophy says: So I justified this category to Rin by saying that we’re not ALL Tatiana Maslany and that means that not EVERY frame contains Tatiana Maslany and she told me to stop trying to explain myself because it’s embarrassing and also she doesn’t care because Tatiana Maslany.
We don’t need to argue with you guys either, right? These two scenes needed to be put side by side as they were so alike and yet so different at the same time. Both of them are big gay music videos. But could the mood be any different here where there is no laughter and no tumbling about, no sex, not even almost, no oily hands or puffs of perfume, no joy… for Cosima and Delphine right now there is only fear and comfort. There is only how much Delphine can give and how much Cosima can take.
I love how quiet this scene is. I love how elegantly tense the score is. I love how all we can see is what’s up close, because that’s how it is for the two of them right now. Nothing matters except the day they lose each other and how near they may be to it. Nothing matters expect stopping that day from coming however they can. If that means an experimental treatment that may or may not cause unfortunate extra limbs, so be it. If that means inviting Dr Leekie of all people into their big gay music video, so be it.
(Don’t worry Cophine, I didn’t include any caps.)
I didn’t think about this in the moment because I was too entranced by the tenderness of the interactions between Delphine and Cosima and the stunning camera work and editing… but now as I reflect I’m thinking about the fact that Delphine and Dr Leekie used to be in a sexual relationship and I am just aghast by it. It was one thing when she was playing evil. But now that she’s Cosima’s nuzzle-puppy IT IS JUST SO WRONG THAT SHE WAS EVER ANYTHING NUZZLY WITH DR LEEKIE YOU GUYS.
And I am wondering when that shoe is going to drop and how heavy it will be.
Rin says: Probably like a size 11 or 12.
Rin says: YES BUT THIS WAS SHOT SO BEAUTIFULLY AND THE LIGHT AND THE HANDS ON FACES AND HAIR AND EVEN THE NEEDLE WHICH IS A LITTLE BIT WORRYING BUT AT THE SAME TIME I DON’T CARE I LOVE YOU TWO ALWAYS.
Leekie omg get out do you even lesbian. Like when it panned out and showed that he was sitting there I was like OMG AWKWARD GET OUT YOU PERVE, because it looked that intimate.
And then I realised it was Cophine being inappropriately intimate I still don’t care get out Leekie
This will be added to the list of tender sexy wound healing list, and it seems that Cophine have already gotten on that list twice this season. Sophy I feel like we need to make a legitimate trophy list for tender sexy wound healing. This is something the people need to see and agree with us about.
Sophy says: That would be the greatest Rophy Trophy yet. I’ll start making the list of nominees.
“I’ll sic Helena on you all.”
Sophy says: Nothing, and I mean nothing, says ‘Up Yours’ like threatening to sic Helena on someone. Seriously, “Up yours!” doesn’t even cover it as succinctly as that.
Meanwhile I could cry about the fact that Helena has gone from being someone Sarah was terrified of to someone who’s basically her secret weapon. Like. SHE IS HER SCOOBY GANG MVP BASICALLY. AHHHHHHHHH.
I am intrigued to see where this risky rapprochement with Dr Leekie goes. The actor is playing him as a lot more sincere this season than he has previously and yet at the same time there is a hint of menace that is not going away, and really, I’d be a fool to trust someone just because they wanted to save Cosima’s life, because who wouldn’t want to save Cosima’s life apart from Rachel and that’s probably just because she’s also Tatiana Maslany so it’s different for her? PEOPLE WHO CLUB BABY SEALS WOULD PROBABLY LINE UP TO SAVE COSIMA’S LIFE.
I have no idea who to trust. There is only one thing I’m certain of and that is that things with Paul are not as they seem to Sarah and Helena and Felix. He hasn’t forsaken them – or he’s trying not to. And maybe that’s why it hurt so much to see Sarah believe the worst of Paul, to hear her say she doesn’t care about him, he doesn’t matter anymore.
Because I am certain that she matters to him and not just in a simple romantic sense. She is the spark. She is what made him rise up for the first time in years. And maybe there are a lot of reasons he’s running the agenda he is right now, but there is no question in my mind that she is one of them – whether he’s doing it for her or because of her or both at the same time.
Rin says: Yeah I’m still super wary of Leekie and think they’re trying to lure us into a false sense of security with him. I just don’t buy that he’s willing to go behind Rachel’s back in order to help out Cosima just because he’s a great guy. BECAUSE HE’S NOT OKAY. DON’T LET HIS FRAIL FRAME FOOL YOU, I’m sure there is something dodgy brewing.
SIC. HELENA. ON. YOU. ALL.
Prior to this I was all, Helena is like Sarah and Fe’s dog because of the way they had to ‘look after’ her and make sure she didn’t get into any trouble and using food as a reward. And now Sarah is threatening them with her as if she was some kind of wild animal, but also I loved how when Sarah said this it almost felt as if it just highlighted how much Sarah doesn’t think of Helena as being that any more. It’s more of a bluff than anything because I don’t see Sarah sending Helena after anyone because she cares about her now. She wouldn’t intentionally put her life at risk, nor ask her to do the things that Helena was forced into her entire life. But of course Leekie doesn’t know that, and there is no reason he has to.
ALSO HOW MUCH DID THIS REMIND YOU OF THAT TIME LUTHER THREATENED PEOPLE WITH ALICE?
Sophy says: YES OH MY GOD
Also you wondered above what would happen when Alison and Helena meet. And honestly I can see Alison trying to put an actual collar on her. Which she may or may not have put rhinestones on first.
Head In Hands
Sophy says: KIRA MANNING IS SMARTER THAN YOU. I don’t think Veronica would mind me saying that. KIRA MANNING IS THE CUTEST HUMAN EVER. I don’t think Emily Fitch would protest.
Seriously, she is just the greatest kid. And trust the show to prevent me from enjoying her budding relationship with her dad exactly when I really start to enjoy it by showing us his stash of guns and fake IDs that unsuspecting innocents who are living their lives not expecting to go on the run just do not have.
I’ve got my eye on you, Crockett.
Rin says: KIRA MANNING IS WHO VERONICA MARS WOULD HAVE BEEN AS A CHILD.
And now I’m seeing Emily in her goggles next to Kira in her creepy mask and yeah. Fandoms colliding is always appreciated.
SHE DREW HER AUNTIES. AUNTIES WHO ALL LOOK THE SAME. And they’re holding hands. AND LOOK AT ALISON I CAN’T I DIE KIRA TOTALLY NAILED IT.
Sophy says: I think Sarah should make copies for all of their fridges.