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Class S1.4 Co-Owner of a Lonely Heart
My initial reaction upon watching this episode was this:
I knew I should probably have started to write up my thoughts sooner, but damn, for the most part my brain has quite simply been doing that gif on repeat out of sheer delight.
Lots of sections below the cut. ☺ And, as before, no spoilers beyond this episode.
“I think they had sex!”
(Couples in Class)
TANYA: Ram said April's body has been taken over by the Shadow Kin. His voice sounded kind of funny. I think they had sex.
It’s one of those moment where we clearly see the age gap – for Tanya sex is something a bit naughty, something that makes her giggle, which falls completely flat given her audience. But it’s also interesting to look at our two couples…
Matteusz and Charlie can more or less do as they please, the ‘reaction’ to their sleeping/living together being this:
QUILL: Oh, finally.
CHARLIE: Finally what?
QUILL: Finally, you've come down from your little love nest and are therefore implicitly under threat.
[…]
CHARLIE: By the way, Matteusz lives with us now.
QUILL: Whatever.
At the other end of the spectrum is Matteusz’ parents kicking him out, abdicating responsibility almost as thoroughly as Quill.
In neither case do any adults offer support or guidance of any kind – instead we have rejection and disinterest, leaving the boys to attempt to navigate their lives on their own.
We see this brought up in a more mundane context with regards to the Parents Evening. Matteusz says how his parents always used to attend, but presumably won’t now… And Charlie decides that he would quite like some guidance and the feeling of being looked after. His choice to order Quill to perform a parent’s duties I’ll deal with further down, but the basic impulse is easy to understand. He is literally an orphan and Matteusz has been rejected by his family, and they are both still very young – so Charlie forces his will through, decides that he will use the adult he can control to fulfil the guardian-role she so resents. After all, it’s her duty to look after him, right? And I think deep down he desperately wants to be looked after. We know his bond with his parents wasn’t strong, that they saw him as useful but did not care much for him personally. And now, settling into and learning about life on Earth, he is beginning to understand what he’s missed.
This whole issue is beautifully contrasted with April’s mother walking in on April and Ram, and The Talk that follows.
JACKIE: Don't let this chair fool you. If you hurt my daughter, I will kill you.
April’s mother reacts like a normal parent would – it’s deeply uncomfortable for all parties involved, but she acts out of love and concern. And there is no doubt that both she, and Ram’s parents, will be at the parents evening.
Also, we have confirmation that Ram has a mother! And she is alive and well!
RAM: I'm doing okay, Dad. Better. I made some new friends. You haven't told Mum about my leg, have you?
VARUN: You asked me not to.
RAM: I just don't want her worrying, Dad.
We also get added confirmation that Ram’s father not only cares, he makes sure Ram knows:
VARUN: I don't like the thought of you facing anything alone. We'll always fight for you, and with you, if you let us. Still, as long as this business is all finished and there are no more actual aliens still hanging about.
Now April – like Ram – does not want her mother worrying.
This might partly be because April (unlike Ram) does not have a supportive father. Nor is he dead, and has not rejected her. No, her relationship with her father is much more complex, and in this episode it’s brought to the fore…
April & Ram
(of fathers and Kings)
The April/Corakinus story line forms the spine of this episode, which is clear right from the end of the cold open with April standing over the smouldering, hacked chair, scimitars in her hands…
The reason for this is that Corakinus is attempting to find a cure for his heart. Being an impatient sort of person, he does not react well to failure.
Sidebar here: I rather love the Shadowkin. There is something very Classic Who about them – big grand scenes with people in outrageous costumes. They have to sell it, and they do that well. Incidentally I especially love Kharrus (the female Shadowkin), she is delightfully waspish.
Also we find out more about the Shadowkin (I’ll delve further in my next post):
CORAKINUS: How many worlds have I made submit? How much life have I extinguished with shadow?
KHARRUS: Never enough.
CORAKINUS: Never enough. We are a trick. We are an accident. We should never have been born into a universe of light. But we were.
Back to April, we discover that her father has been let out of prison (as most had probably guessed, seeing the phone ringing in an earlier episode), and although she is trying to show a calm façade to the world, her very intense violin playing belies this. Thanks to the now strengthened link with Corakinus, we see her anger and frustration spill over…
Once again, the show uses the storyline as metaphor. In the pilot, the fact that it was April who ended up sharing her heart with the Big Bad seemed a complete juxtaposition of opposites – but having discovered more about her past, knowing how she describes herself as ‘always being at war’ (very much echoes of the Shadow Kin, although the reasons are different), we see more clearly how it makes perfect sense.
She and Corakinus influence each other throughout, their actions mirroring. Or rather, they start out as opposites: April speaking out in class, barely aware of what she is saying, Corakinus mating with Kharrus, and then ‘wishing to cuddle’ which leaves her literally speechless. But come the end of the episode, they speak with the same voice, April’s anger towards her father overlapping perfectly with the Corakinus’ fury that Kharrus couldn’t fix his heart either.
The outcomes are different, as April does not kill her father, but the impulses are the same, and seamless – and that is something few people could have predicted when we first met April.
And it’s a lovely metaphor – April’s anger, that she has so carefully hidden, can’t be contained any longer. What thrilled me upon first watch (and still does now) is that the show does not judge her for her anger. It’s presented as justified, and her father’s pleas are not – he has not got the right to ask anything of her, and his presence is clearly deeply challenging for her and she struggles to cope...
APRIL: You know that war I told you I was fighting every day?
RAM: Against the world breaking.
APRIL: I'm losing.
With both of them vulnerable and hurting, it’s no surprise that they end up ‘comforting’ each other… What’s interesting, is how they frame it:
RAM: April, is this really okay?
APRIL: I'm afraid all the time. You are one of the only things that makes me feel safe, because you've seen everything that I have.
RAM: You make me feel safe, too.
They are both scared, but they feel safe with each other – not because one of them is stronger and can protect the other, but because of their shared experiences. They’ve both suffered, physically, from the Shadow Kin’s attack, their bodies forever altered by the encounter. Their world has changed, and so have they, but they have changed together. And that is a very powerful thing.
But it doesn’t end there.
The end of the episode is a rollercoaster – both in terms of the actions, and April’s feelings. It’s all building, as she and Corakinus grow ever closer. We even see her using his power (or rather, the power of continual healing that was put in place to heal his heart as they tried to fix it for good) to heal her mother – and it is done much in his way: No warning, just action.
And as she discovers that her enemy has found a path back, she takes charge of the narrative in even more drastic fashion, tearing a hole in the fabric of space-time and leaping into the world of the Shadow Kin – followed by Ram.
See gif above.
Other characters have far less active storylines, but that does not mean that seismic shifts are not taking place.
Charlie, Matteusz and Tanya
(of Cabinets and privilege)
Lots and lots of chewy, character-y goodness here.
Matteusz is (not surprisingly) curious about the Cabinet of Souls, and Charlie decides to share his most precious secret… Except it does not go how either envisaged.
It’s unclear what Charlie was expecting Matteusz’s reaction to be – maybe wonder? – but for Matteusz is a very different kind of rollercoaster, trying to wrap his head around the revelation:
MATTEUSZ: You lied.
CHARLIE: I did.
MATTEUSZ: Because sometimes princes have to lie?
It’s an attempt at justification, and one that Charlie sort of uses:
CHARLIE: Because these are the souls of every Rhodian who's ever lived, everyone I've ever known. My family, people I love. I'm in charge of protecting them.
MATTEUSZ: And because it is not empty, it is also a weapon.
CHARLIE: It's also a weapon.
Matteusz does not like this. Not one little bit. However, he cannot confront Charlie as bluntly as Tanya does – not only is he deeply in love with Charlie, they also live together and he has nowhere else to go. So he slowly begins to extract information:
MATTEUSZ: How does it work?
CHARLIE: It only responds to the Rhodian leader. I activate it, and each soul finds one of the people you wish to eliminate.
MATTEUSZ: Do not use that word. It's a word very bad governments use.
Here is one of the times when it matters that Matteusz is Polish. He’ll have grown up in the shadow of Russia – ‘bad governments’ isn’t an empty phrase, it’ll have been a daily reality, deeply tied to his history. And here he, possibly for the first time, begins to truly take on board what it means that Charlie is royalty. That they don’t just come from different worlds, they have completely different world views. And Charlie speaks from the position of someone with almost limitless privilege, who has never had it challenged. Until now.
TANYA: I don't think I like how you order Miss Quill around.
CHARLIE: What?
TANYA: It's a punishment, isn't it?
TANYA: She's meant to protect you, not be your servant. Or your slave.
CHARLIE: I know. I don't know how many times I've had this exact conversation with her myself.
TANYA: My dad used to say people don't set out to be monsters. They start by getting a little taste for it and then they like it, so they taste some more. And then before you know it-
CHARLIE: I'm not being monstrous. I'm being just. Please don't question the morality of my culture.
MATTEUSZ: He doesn't like it when you do that.
Quill has the zingers, but Matteusz’s understated lines are almost better. Very dry, very cutting… And as he has bumped into Charlie’s barriers all morning, they certainly carry weight.
Tanya calls it as she sees it, and doesn’t hold back, and she certainly has a point…
Charlie’s response is almost reflexive (and as he has had the argument continually with Quill herself, it probably is), and – as is usual when someone’s unconscious privilege is challenged – he does not take well to having his morals and actions questioned. This should probably also be viewed through the lens of having lost his whole species, and even living in a new body (we don’t know what he looked like before, but Tanya’s little question earlier to Matteusz whether Charlie was all human was a neat reminder that he didn’t use to be). Clinging onto the few things he has left – vestiges of his culture, the ethics he was brought up with – is only natural. Doesn’t mean it’s good, just that he is taking time to adjust to living in a human world… If he’ll change his mind remains to be seen.
The other issue is one he shares with April and Ram – his body has been changed, as I noted above, and although he never voices any kind of discomfort with his human form, we must bear in mind the other two, and their fears. Charlie has seen his worst fears play out before his eyes, and despite his calm exterior he is clearly a long way from processing that:
MATTEUSZ: And you never would destroy a planet, all those lives.
CHARLIE: My planet was destroyed…
The way he says it. I can’t even begin to describe it. The world isn’t fair, he has suffered, why shouldn’t others? Of course he knows he shouldn't. And he won't. But that little thought is there. And this is where he and Quill are divided by a common purpose.
Quill wears her anger and her grief like an armour. But Charlie… Oh Charlie. From the first episode:
QUILL: How? How are you not deranged with grief for your people as I am for mine? How does the rage not consume your life at every waking moment?
CHARLIE: How do you know it doesn't?
Quill rages against fate, and does not care to show it. Charlie however hides his emotions far, far better, and whether this is nature or nurture is almost besides the point:
CHARLIE: A prince can't simply run around being furious. A prince is responsible for his people.
It’s interesting to contrast the conversations Charlie has with Matteusz with the ones he had with Quill:
QUILL: What do you mean? You. The Cabinet of Souls is empty?
CHARLIE: I wish it wasn't as much as you.
QUILL: Shame. We could have killed them. We could have killed them all.
CHARLIE: Committing one genocide for another.
QUILL: Would you really let that stop you? It wouldn't stop me.
They are divided by a common purpose – the revenge which Quill wishes to unleash is literally at Charlie’s fingertips. And nothing is stopping him, but him. Matteusz sees this very clearly, and is troubled.
Of course, by now Quill knows that the Cabinet is not empty…
Quill and Dorothea
(of Petals and a new order)
The big board at Coal Hill bearing the names of all the students and staff that have been lost is very sobering. To the students, Clara Oswald and Danny Pink were just two in a long line…
Quill muses that she never even found out the headmaster’s name, and since she said, in ep 2, that she rather liked him, there is possibly a sadness of lost opportunities – he said he liked her, and, lonely as she is, I’m sure she was wondering if something might have happened…
Enter Dorothea Ames, new Head.
Mr Armitage was friendly, and seemingly harmless. He certainly did not appear to be aware of all the odd goings on in his school, and his office was cosy and old fashioned.
Ms Ames by contrast is sharp, bright and full of surprising knowledge. She knows everything about our little friendship group, about Charlie and Quill’s real identities, about the Governors, about the tears in space time.
And she is willing to help Quill with the arn in her head, if Quill is willing to help with the petals…
Ah yes, the petals. With a theme as light and pretty as they are, but – like the new head – they hide something darker...
I think I will deal with the petals and Ms Ames in more detail in the next post. For now I just want to register my pleasure at two adult women in main roles (talking about many things that are not men). It shouldn’t be such a rare treat of course, but damn, every step in the right direction is a victory.
(See you on the other side of Christmas cards, cannot put them off any longer…)
I knew I should probably have started to write up my thoughts sooner, but damn, for the most part my brain has quite simply been doing that gif on repeat out of sheer delight.
Lots of sections below the cut. ☺ And, as before, no spoilers beyond this episode.
(Couples in Class)
TANYA: Ram said April's body has been taken over by the Shadow Kin. His voice sounded kind of funny. I think they had sex.
It’s one of those moment where we clearly see the age gap – for Tanya sex is something a bit naughty, something that makes her giggle, which falls completely flat given her audience. But it’s also interesting to look at our two couples…
Matteusz and Charlie can more or less do as they please, the ‘reaction’ to their sleeping/living together being this:
QUILL: Oh, finally.
CHARLIE: Finally what?
QUILL: Finally, you've come down from your little love nest and are therefore implicitly under threat.
[…]
CHARLIE: By the way, Matteusz lives with us now.
QUILL: Whatever.
At the other end of the spectrum is Matteusz’ parents kicking him out, abdicating responsibility almost as thoroughly as Quill.
In neither case do any adults offer support or guidance of any kind – instead we have rejection and disinterest, leaving the boys to attempt to navigate their lives on their own.
We see this brought up in a more mundane context with regards to the Parents Evening. Matteusz says how his parents always used to attend, but presumably won’t now… And Charlie decides that he would quite like some guidance and the feeling of being looked after. His choice to order Quill to perform a parent’s duties I’ll deal with further down, but the basic impulse is easy to understand. He is literally an orphan and Matteusz has been rejected by his family, and they are both still very young – so Charlie forces his will through, decides that he will use the adult he can control to fulfil the guardian-role she so resents. After all, it’s her duty to look after him, right? And I think deep down he desperately wants to be looked after. We know his bond with his parents wasn’t strong, that they saw him as useful but did not care much for him personally. And now, settling into and learning about life on Earth, he is beginning to understand what he’s missed.
This whole issue is beautifully contrasted with April’s mother walking in on April and Ram, and The Talk that follows.
JACKIE: Don't let this chair fool you. If you hurt my daughter, I will kill you.
April’s mother reacts like a normal parent would – it’s deeply uncomfortable for all parties involved, but she acts out of love and concern. And there is no doubt that both she, and Ram’s parents, will be at the parents evening.
Also, we have confirmation that Ram has a mother! And she is alive and well!
RAM: I'm doing okay, Dad. Better. I made some new friends. You haven't told Mum about my leg, have you?
VARUN: You asked me not to.
RAM: I just don't want her worrying, Dad.
We also get added confirmation that Ram’s father not only cares, he makes sure Ram knows:
VARUN: I don't like the thought of you facing anything alone. We'll always fight for you, and with you, if you let us. Still, as long as this business is all finished and there are no more actual aliens still hanging about.
Now April – like Ram – does not want her mother worrying.
This might partly be because April (unlike Ram) does not have a supportive father. Nor is he dead, and has not rejected her. No, her relationship with her father is much more complex, and in this episode it’s brought to the fore…
(of fathers and Kings)
The April/Corakinus story line forms the spine of this episode, which is clear right from the end of the cold open with April standing over the smouldering, hacked chair, scimitars in her hands…
The reason for this is that Corakinus is attempting to find a cure for his heart. Being an impatient sort of person, he does not react well to failure.
Sidebar here: I rather love the Shadowkin. There is something very Classic Who about them – big grand scenes with people in outrageous costumes. They have to sell it, and they do that well. Incidentally I especially love Kharrus (the female Shadowkin), she is delightfully waspish.
Also we find out more about the Shadowkin (I’ll delve further in my next post):
CORAKINUS: How many worlds have I made submit? How much life have I extinguished with shadow?
KHARRUS: Never enough.
CORAKINUS: Never enough. We are a trick. We are an accident. We should never have been born into a universe of light. But we were.
Back to April, we discover that her father has been let out of prison (as most had probably guessed, seeing the phone ringing in an earlier episode), and although she is trying to show a calm façade to the world, her very intense violin playing belies this. Thanks to the now strengthened link with Corakinus, we see her anger and frustration spill over…
Once again, the show uses the storyline as metaphor. In the pilot, the fact that it was April who ended up sharing her heart with the Big Bad seemed a complete juxtaposition of opposites – but having discovered more about her past, knowing how she describes herself as ‘always being at war’ (very much echoes of the Shadow Kin, although the reasons are different), we see more clearly how it makes perfect sense.
She and Corakinus influence each other throughout, their actions mirroring. Or rather, they start out as opposites: April speaking out in class, barely aware of what she is saying, Corakinus mating with Kharrus, and then ‘wishing to cuddle’ which leaves her literally speechless. But come the end of the episode, they speak with the same voice, April’s anger towards her father overlapping perfectly with the Corakinus’ fury that Kharrus couldn’t fix his heart either.
The outcomes are different, as April does not kill her father, but the impulses are the same, and seamless – and that is something few people could have predicted when we first met April.
And it’s a lovely metaphor – April’s anger, that she has so carefully hidden, can’t be contained any longer. What thrilled me upon first watch (and still does now) is that the show does not judge her for her anger. It’s presented as justified, and her father’s pleas are not – he has not got the right to ask anything of her, and his presence is clearly deeply challenging for her and she struggles to cope...
APRIL: You know that war I told you I was fighting every day?
RAM: Against the world breaking.
APRIL: I'm losing.
With both of them vulnerable and hurting, it’s no surprise that they end up ‘comforting’ each other… What’s interesting, is how they frame it:
RAM: April, is this really okay?
APRIL: I'm afraid all the time. You are one of the only things that makes me feel safe, because you've seen everything that I have.
RAM: You make me feel safe, too.
They are both scared, but they feel safe with each other – not because one of them is stronger and can protect the other, but because of their shared experiences. They’ve both suffered, physically, from the Shadow Kin’s attack, their bodies forever altered by the encounter. Their world has changed, and so have they, but they have changed together. And that is a very powerful thing.
But it doesn’t end there.
The end of the episode is a rollercoaster – both in terms of the actions, and April’s feelings. It’s all building, as she and Corakinus grow ever closer. We even see her using his power (or rather, the power of continual healing that was put in place to heal his heart as they tried to fix it for good) to heal her mother – and it is done much in his way: No warning, just action.
And as she discovers that her enemy has found a path back, she takes charge of the narrative in even more drastic fashion, tearing a hole in the fabric of space-time and leaping into the world of the Shadow Kin – followed by Ram.
See gif above.
Other characters have far less active storylines, but that does not mean that seismic shifts are not taking place.
(of Cabinets and privilege)
Lots and lots of chewy, character-y goodness here.
Matteusz is (not surprisingly) curious about the Cabinet of Souls, and Charlie decides to share his most precious secret… Except it does not go how either envisaged.
It’s unclear what Charlie was expecting Matteusz’s reaction to be – maybe wonder? – but for Matteusz is a very different kind of rollercoaster, trying to wrap his head around the revelation:
MATTEUSZ: You lied.
CHARLIE: I did.
MATTEUSZ: Because sometimes princes have to lie?
It’s an attempt at justification, and one that Charlie sort of uses:
CHARLIE: Because these are the souls of every Rhodian who's ever lived, everyone I've ever known. My family, people I love. I'm in charge of protecting them.
MATTEUSZ: And because it is not empty, it is also a weapon.
CHARLIE: It's also a weapon.
Matteusz does not like this. Not one little bit. However, he cannot confront Charlie as bluntly as Tanya does – not only is he deeply in love with Charlie, they also live together and he has nowhere else to go. So he slowly begins to extract information:
MATTEUSZ: How does it work?
CHARLIE: It only responds to the Rhodian leader. I activate it, and each soul finds one of the people you wish to eliminate.
MATTEUSZ: Do not use that word. It's a word very bad governments use.
Here is one of the times when it matters that Matteusz is Polish. He’ll have grown up in the shadow of Russia – ‘bad governments’ isn’t an empty phrase, it’ll have been a daily reality, deeply tied to his history. And here he, possibly for the first time, begins to truly take on board what it means that Charlie is royalty. That they don’t just come from different worlds, they have completely different world views. And Charlie speaks from the position of someone with almost limitless privilege, who has never had it challenged. Until now.
TANYA: I don't think I like how you order Miss Quill around.
CHARLIE: What?
TANYA: It's a punishment, isn't it?
TANYA: She's meant to protect you, not be your servant. Or your slave.
CHARLIE: I know. I don't know how many times I've had this exact conversation with her myself.
TANYA: My dad used to say people don't set out to be monsters. They start by getting a little taste for it and then they like it, so they taste some more. And then before you know it-
CHARLIE: I'm not being monstrous. I'm being just. Please don't question the morality of my culture.
MATTEUSZ: He doesn't like it when you do that.
Quill has the zingers, but Matteusz’s understated lines are almost better. Very dry, very cutting… And as he has bumped into Charlie’s barriers all morning, they certainly carry weight.
Tanya calls it as she sees it, and doesn’t hold back, and she certainly has a point…
Charlie’s response is almost reflexive (and as he has had the argument continually with Quill herself, it probably is), and – as is usual when someone’s unconscious privilege is challenged – he does not take well to having his morals and actions questioned. This should probably also be viewed through the lens of having lost his whole species, and even living in a new body (we don’t know what he looked like before, but Tanya’s little question earlier to Matteusz whether Charlie was all human was a neat reminder that he didn’t use to be). Clinging onto the few things he has left – vestiges of his culture, the ethics he was brought up with – is only natural. Doesn’t mean it’s good, just that he is taking time to adjust to living in a human world… If he’ll change his mind remains to be seen.
The other issue is one he shares with April and Ram – his body has been changed, as I noted above, and although he never voices any kind of discomfort with his human form, we must bear in mind the other two, and their fears. Charlie has seen his worst fears play out before his eyes, and despite his calm exterior he is clearly a long way from processing that:
MATTEUSZ: And you never would destroy a planet, all those lives.
CHARLIE: My planet was destroyed…
The way he says it. I can’t even begin to describe it. The world isn’t fair, he has suffered, why shouldn’t others? Of course he knows he shouldn't. And he won't. But that little thought is there. And this is where he and Quill are divided by a common purpose.
Quill wears her anger and her grief like an armour. But Charlie… Oh Charlie. From the first episode:
QUILL: How? How are you not deranged with grief for your people as I am for mine? How does the rage not consume your life at every waking moment?
CHARLIE: How do you know it doesn't?
Quill rages against fate, and does not care to show it. Charlie however hides his emotions far, far better, and whether this is nature or nurture is almost besides the point:
CHARLIE: A prince can't simply run around being furious. A prince is responsible for his people.
It’s interesting to contrast the conversations Charlie has with Matteusz with the ones he had with Quill:
QUILL: What do you mean? You. The Cabinet of Souls is empty?
CHARLIE: I wish it wasn't as much as you.
QUILL: Shame. We could have killed them. We could have killed them all.
CHARLIE: Committing one genocide for another.
QUILL: Would you really let that stop you? It wouldn't stop me.
They are divided by a common purpose – the revenge which Quill wishes to unleash is literally at Charlie’s fingertips. And nothing is stopping him, but him. Matteusz sees this very clearly, and is troubled.
Of course, by now Quill knows that the Cabinet is not empty…
(of Petals and a new order)
The big board at Coal Hill bearing the names of all the students and staff that have been lost is very sobering. To the students, Clara Oswald and Danny Pink were just two in a long line…
Quill muses that she never even found out the headmaster’s name, and since she said, in ep 2, that she rather liked him, there is possibly a sadness of lost opportunities – he said he liked her, and, lonely as she is, I’m sure she was wondering if something might have happened…
Enter Dorothea Ames, new Head.
Mr Armitage was friendly, and seemingly harmless. He certainly did not appear to be aware of all the odd goings on in his school, and his office was cosy and old fashioned.
Ms Ames by contrast is sharp, bright and full of surprising knowledge. She knows everything about our little friendship group, about Charlie and Quill’s real identities, about the Governors, about the tears in space time.
And she is willing to help Quill with the arn in her head, if Quill is willing to help with the petals…
Ah yes, the petals. With a theme as light and pretty as they are, but – like the new head – they hide something darker...
I think I will deal with the petals and Ms Ames in more detail in the next post. For now I just want to register my pleasure at two adult women in main roles (talking about many things that are not men). It shouldn’t be such a rare treat of course, but damn, every step in the right direction is a victory.
(See you on the other side of Christmas cards, cannot put them off any longer…)
no subject
(I'm not sure if I knew you were watching?)
no subject
Your thoughts and meta on the show is so on point *^^*
no subject
YAY! And yes, it just keeps surprising me. Like - good writing, good acting, good stories, good depth, good everything - surely there must be a catch? (If there is, I've yet to come across it...)
Your thoughts and meta on the show is so on point *^^*
Thank you!! I've missed writing meta, and these thoughts are not quite there - more running commentary/impressions, trying to identify themes and imagery.