Moment that makes you most concerned for JT’s mental health
Bleeding on your loved ones has never been so upsetting.
Rin says: This whole sequence was a huge mix of things. It was terrifying, it was grotesque, it was moving and way more emotional than I ever thought images like THAT could be. I’m half gagging and half swooning right now, and isn’t that an incredibly rare combination? I’m just glad I had the foresight to finish my breakfast before doing this recap.
And honestly, this scene could have gone under a few of the other categories because it was such a strong scene. It was a pivotal moment for me in humanising the Fades, or the Reborns.
Sophy says: Totally. This scene could absolutely have taken out ‘JT’s mental awesome’ just as easily as it takes out Why, why, why.
The imagery here is incredibly bold, and the black and white and red and green going on makes really, really ugly things gorgeous. And you know what else makes really, really ugly things gorgeous? Love, that’s what. And at the end of the day, that’s where John came from. Our monster was born out of love, you guys, and that’s probably the most heartbreaking thing the show has thrown at us so far.
And okay, so the part where John is really a decent bloke who won’t hurt anyone as long as they’re nice to him turned out to be not so true… but all the rest? The cruelty of war, the agony of a lifetime seeing and being unseen, the horror of being unable to stop the blade or even hold his beloved wife as she dies? That’s all true. It has to be. Joe Dempsie brought a sincere, reflective quality to that story that I don’t think John would have been able to fake. And that’s what makes me think the part about the Angelics refusing to help – refusing to even try – is all true too. So really, with all that on his plate, can you blame a guy for eating people instead?
Okay yes, you can. But you can’t blame him for wanting to eat people.
But you can see how Paul was moved, and you can understand why someone as tender-hearted and innocent as he is would hope that he could make things better for this poor man, who has been wrecked twice over – by life and then by death.
Moment that makes you most in awe of JT’s mental awesome
Let’s face it, this could also come under the previous heading.
Rin says: This was just a huge ‘HELL FUCKING YES’ moment for me. When the music picked up and it was all thumping and you felt like everything was going to change. Sarah was going to change, and you were slightly worried because does eating = being evil? Will she still have control over herself? Is she seriously going to eat her friends?
And also you can’t help but think that her main reason for wanting to eat wasn’t to help with the war. It was so she could be with Mark. And then that’s a whole other thing with a bunch of new complications. What happens when she feels peckish in the middle of the night?????
Sophy says: AMAZING. AMAZING AND GROSS. AND AMAZING.
I absolutely love that Sarah chose to do this, for all the wrong reasons and the right ones too. I love that Neil supported her in it, because that makes him mad and sane and strong and weak at the same time. And just. Her friends. She’s eating her friends.
I do think it was thoughtful of Neil to kind of depersonalize the produce for her prior to consumption.
“You know my favourite time? First thing in the morning. I used to leave you in bed while I… had a shower, and then when I came back into the bedroom, you’d always…have fallen asleep again.”
“You’d wake me up by putting your cold, wet hand on my back.”
“I’d just watch you. Just watch you sleep. And you looked…. perfect, you just looked perfect.”
“It’s like, knowing that you’re there, it should fill me with joy, but it doesn’t. In fact, it’s beginning to make me hate you. So… just… fuck off. Please. Out of my life, please.”
“Okay. Okay, baby.”
Rin says: This has been done numerous times in the past, but like we’ve said before, JT always manages to make things feel fresh and new. I love how it goes from retelling his favourite time of day to telling her to fuck off.
Sophy says: My heart. MY HEART.
Natalie Dormer’s face, all the awards. And I say this as someone who used to mock the internet for being so obsessed with her. It’s Kristen Bell all over again. I NEVER LEARN. GO WITH THE FLOW, SOPHY. THE MASSES ARE ALWAYS RIGHT.
But seriously, her face does amazing things in this scene, and so does her voice, and just, oh, everything. I love how at the start of this scene she’s so contentedly alert, so alive in his presence, basking in the way they used to be. And when Mark changes and turns away from her, she begins to flare, first with the kind of brittle, frustrated rage she was firing during the interrogation – she loves him, she doesn’t want him to hurt, she’d do everything to stop it, but she can’t do anything at all… and then when she realizes that he’s moved on from being tormented by the situation to being tormented by her… there’s these little flickers of resentment and malice amidst the hurt and the caring, and a little bit of sulky child thrown in, and some seriously brave, hard edges for good measure.
In short, Natalie Dormer is brilliant and I sort of want to try again with The Tudors just for her.
And yes, Rin is right, it’s Jack Thorne’s show and everything old is new again. He’s like Napisan. Or something.
Rin says: I haven’t seen anything Dormer has been in previously so I didn’t have the same bias as Soph did. I pretty much loved Sarah from the start Just so you know
But that’s kind of the brilliance of good casting I guess.
Sophy says: I HADN’T SEEN HER IN ANYTHING EITHER. Except one scene of The Tudors when I was tired and rather angry with the show. So.
Oh, that Mac
“I’ve met some really clever wizards.”
“I found an exhaust port.”
Rin says: VENDING MACHINE LOVE <33333333333
EXHAUST PORT!!!!! <3333333333
Sophy says: CAN’T. Sometimes I think I could watch a whole show that was just Mac. 60 minutes of Mac, they’d call it. And I’d make a fansite.
Also I loved that he brought ‘exhaust port’ back in a much more serious and much more ridiculous context. Amazing.
Reasons Lily should be in the opening credits.
“Where’ve you been?”
“Here… there… everywhere.”
Rin says: It’s not like any of you should have forgotten, but SERIOUSLY. IS THIS NOT THE BEST REMINDER FOR WHY LILY LOVELESS IS AMAZING? AND SHOULD HAVE BEEN IN THE CREDITS?
That moment when she breathes in just before she says, ‘They’ve been taking it in turns to say goodbye,’ as she leans against the machine? MAGIC. LOVELESS MAGIC.
And I love that even at her lowest point, Anna is still very much Anna. She’s a helluva lot softer, but also manages to call Mac a weirdo and tell him that’s not what au revoir means.
Sophy says: For me the best bit is her opening gambit. Where’ve you bin! She just sounds so adorably accusatory about it, and that kind of implied reliance implies a history that is long and shared and you just want to know more about these two and what they are to each other exactly right now.
“And frankly, you’re pretty good looking and you’ve got a great arse, so he probably did better than he should have done. Which is good, cos… now he’s dead.”
Sophy says: Everything about this scene. From Anna’s casual appraisal of her BFF’s bottom, to the way she looks at her when she asks if she’s okay, to the bitter little thought that her mum would rather it was her on the bed in there, to the way she promptly pronounces herself a selfish bitch, sighs, looks up at the ceiling. EVERYTHING. ALL THE LILY.
Rin says: I like how Jay is propped up in an awkward seating position because it is awkward. What the hell are you supposed to say to that?
OH YEAH &
“I’m Anna Roberts. I’m really, really pretty in this light.”
Sophy says: And in all the lights.
Rin says: Again with the hair in the moonlight.
BTW, having four caps of just her is totally reminding me of a Naomtrance. And my heart. My fucking heart.
THE KEY. CAN’T.
Rin says: The key basically lead to Paul being saved.
That, ladies and gentleladies, is guy-love.
Sophy says: Well… the key led to them trying to save Paul. But it’s the thought that counts.
And I just find it so adorable that despite the fact that Mac knows Paul is a ghost and he can’t see or hear him… on some level he still thinks the bond of their forever love will probably be enough to overcome that.
Oh yeah and we almost chose “I’m here to beg you to not turn off the machines” for this category. Actually we almost chose that for best scene. It narrowly missed out on the gold, twice.
Rin says: But unlike the Olympics, we’ll never forget who got shameful silver. We’ll hold those scenes just as close to our hearts
She felt his heart beat! (Close enough.)
Rin says: Just. Wow. NOT JUST MOTHS, BUT BUTTERFLIES. AND HUNDREDS OF THEM! Remember in the past recaps we were like, omg we were scared hundreds of moths were going to come out of his mouth. And then we were all like, pheewwww thank GOD that didn’t happen!
Well. Thanks JT. For fixing that. No, really.
I think what I loved most about Paul’s resurrection was that the fake out was believable. I almost felt like we were going to get a Ned Stark moment where you’re just like, ‘Arya will save him Somehow She’s got superpowers :-j’ AND THEN HIS HEAD JUST GETS CHOPPED OFF AND EVERYTHING WENT NUMB?
So when the little twin-trick didn’t pan out I was worried. Voicing a lot of ‘SURELY NOT! NO WAY! NOOO WAY!’
And then hundreds of flying insects came out of his mouth.
Sophy says: It was slim pickings for Paul and Jay this week, what with her having the choice of interacting with dead Paul or ghost Paul. Both of which… she wouldn’t get very far. I did love that we got to see in this episode just how much she cared about him. Last week things were so light-hearted and lusty, but this week confirmed that the feelings were there alongside all of that – real, puffy-eyed, not-leaving-your-side feelings. I love that she was the one to see his fingers move and I love the look on her face when she stands up, but I also kind of love that we didn’t go straight from resurrection to romance. Because this was Paul’s mum’s moment, you know? And it’s awesome that both Jay and the show were respectful of that.
And yeah, I love that the soul transplant was a red herring, because if it had worked, just in the nick of time like that, it would have been too convenient. At least this way it’s convenient, but… boldly convenient. It’s just one big blanket ‘I’m a jesus figure, okay?’ kind of convenient and that works much better for me than a half-arsed attempt to justify.
Still, I did love that they tried the soul transplant, for two reasons. First of all it allowed us to see how much Anna does love her brother, by virtue of how far she will go into ridiculousness/creepiness to save him. (Incidentally, it shows how much she trusts Mac, too.) But the main reason I love it is because it harks back to what John said to Paul on the rooftop about how it was wouldn’t not couldn’t with the Angelics – and they wouldn’t even try. Because as much as Alice and Phil are sympathetic characters, I couldn’t help but notice that the moment it’s in service of their side, the Angelics are willing to fuck with the laws of life and death. It does make you wonder whether it’s a legitimate excuse for them to simply turn around to people who have been unfairly condemned to an eternity of loss and loneliness and say “Sorry You can’t interfere with ascension :-j” .
JOHN HAS A POINT. I’M JUST SAYING.
Rin says: Why don’t you just die and get reborn and marry John?
Also I wasn’t completely smitten with Jay prior to this, but I definitely started to like her more after this episode. Her little broken self as she was by his bed the entire time? I loved it.
Sophy says: I think it’s that we finally get to see her vulnerability, which makes us more able to relate to her rather than seeing her as this super cool girl with awesome hair who doesn’t care about films.
Most traumatising/frightening/why am I watching this again?
This must be what hell looks like.
Rin says: Oh Paul. You stupid stupid stupid boy. But also not, because even I was starting to believe John. I can see how Paul, being the innocent that he is, would want to see the good in him too. Especially after he just told him the story of how he came to being. Despite knowing that John has killed/eaten a bunch of people, a part of you is still like, ‘aww but.. ‘
And I don’t know if I can say this enough, but, I really really really do not enjoy the cocooning.
Sophy says: Honestly. I was so upset watching this. And I think a lot of it is to do with the cocooning and a lot of it is to do with the gnashing of teeth and the blood and the death, but also a lot of it is to do with Iain’s reactions to the horror around him, which are just so convincingly frenzied and cowering that you’re right there with Paul, feeling his guilt and his terror and his sheer disbelief at what he’s done.
And it’s fucking horrible.
Head In Hands
Gay for his parent.
Rin says: GUHHHHHHHHHHHHHHHHHHH.
How utterly fucking perfect is it that he grabs his mothers finger. Like a baby. After he’s reborn?
Like. Why is this show so great? WHY?!?!?!!
But also, the moment where I had to pause and get out of my chair came before this. It was a simple 4-word sentence.
“Did you say twin?”
I couldn’t. I just, could not. It was one of those moments where you have a million different puzzle pieces and in an instant you saw it come together.
Sophy says: ‘DID YOU SAY TWIN?’ WASN’T A HEAD-IN-HANDS THOUGH. IT WAS A FLAIL.
But yeah, I can’t get over how perfect it was when he took hold of his mum’s hand. And just… the dazed, dumb way he looked at her and all the feelings in the way she looked at him and just. Wow.
Rophy says: Also, literally…
Sophy says: The more I watch this show the more I’m in awe of Johnny Harris. I’ve purchased a locker and am in talks with someone who lives near his bin.
Seriously, okay. Seriously. His hand over his face. It’s like… the pain isn’t just in his eyes or his mouth… it’s in his whole body. And his voice when he asked Natalie “How can I be good?”
I also have to mention how amazing he was in the moment with Paul directly following John’s rampage. “Walk away from me” was just… wow. I don’t even have words. But he should have BAFTAs.
Rin says: Johnny Harris you brilliant man. I adored how he played this, with his hand covering half his face. And how it just stayed there the entire time to the point where it was almost unnerving. He’s a man who is coming undone after slowly losing everyone around him, and it’s a slippery slope that he’s been sliding down for a while now. It all eventually adds up and that’s why his desperation in the later episodes isn’t completely out of nowhere. It’s been brewing for a while now.
When you merge names, it means something.
Sophy says: I’d give Rin a piece of my soul. She’s already promised me a piece of her liver!
Rin says: When did I say that?
(Also did the little ball of soul remind anyone of POA/Sirius/Dementors?)
Our pants came off.
Rin says: It has gotten to the point where Rophy flail our little arms whenever we see a feather?
And well, little feather-lights illuminating the darkness was always going to be gorgeous, wasn’t it?
Sophy says: They should continue this feather motif with a pillow fight of some kind.
Rophy’s final thought: