“Identity Politics” is the New Insult

From the website This Is Everyday Racism: 

Published From: The Establishment on Medium.com

By Ijeoma Oluo

The other day on Twitter, a man posted a picture of my coloring book he’d given his daughter for Christmas. He was excited to give her a coloring book full of badass intersectional feminists. He wanted to thank me for creating it.

“I don’t know,” chimed in a random stranger (because Twitter), “Sounds like identity politics to me.”

Hell yeah it does.

“Identity Politics” is now thrown about as an insult at many progressive activists. Critics say that Identity Politics make everything about gender, everything about sexuality, and everything about race. And to this I say: yes, yes, and hell yes.

Call it what you want. I don’t care. Complain that we’re making shit about race — you know what? We are. Complain that we’re keeping the left from focusing only on class — yup, and proudly so. Complain all you want because I am not and will never be ashamed of focusing on the politics of identity. I will not feel a moment’s guilt for slowing this whole train down to make sure that everyone can get on and we’re on the right track. I will proudly own up to making shit hard for you.

Thank god for Identity Politics.

You know why? Because you know what we had before Identity Politics? I’ll tell you.

We had White Dudes.

We had white dudes as the pinnacles of power. We had white dudes on all our TV screens, we had white dudes reporting all our news, we had white dudes writing all our books. Sometimes they were accompanied by attractive white ladies (as all the white dudes were straight). But mostly, we had white dudes.

And if you were not a white dude? You didn’t exist. Laws were not written for you, infrastructure was not built for you, history was not written about you. You did not exist in film, television, or novels. You were not a part of the American dream.

And do you know what has been changing all of that? Do you know what has been saving this country from the monotony and tyranny of white, cis, heterosexual dudes? Identity Politics.

Identity Politics are everything that its critics fear. Identity Politics are decentralizing whiteness, straightness, cis-ness, and maleness. Identity Politics brought you equal marriage, the voting rights act, and abortion access. Identity Politics has got people believing that black is beautiful, that disability is nothing to be ashamed of, that fat people deserve respect, that a woman can say no. Identity politics are forcing the world to consider what it has spent hundreds of years ignoring — everyone else.

Without Identity Politics, we wouldn’t all get along better, we’d just cease to exist. And know, that is primarily what those who decry Identity Politics want. They want the world of the past, where we existed in the shadows, where they never had to consider race or gender, because everything was only about their race and gender. They want a world where nobody raised a hand and said “what about me,” because the only people allowed in the room were those whose needs had already been meet. They want the simplicity and power that comes with being the default.

So yes, Identity Politics are the threat to both the right and the left that its enemies are making it out to be. Because our system is still mostly white dudes, on both sides of the aisle. Their fear isn’t wrong; Identity Politics do threaten their way of life and their idea of progress and unity. Identity Politics will tear down everything they have built because everything they have built is oppressive and exclusionary and wrong.

We are not going back to a time where we were overlooked, dismissed, invalidated, and discounted. We are not going back to not existing. Our Identity Politics are here to stay.

 

Shadowhunters and Beyond

So, I watched the series called Beyond. I’ve only seen the pilot episode, even though the rest of the series is on Hulu. Here’s what I thought of the pilot:

Image result for beyond series

The lead character, Holden, lapses into a coma and wake up 12 years later. I was a little put out at the depiction of the coma, as it was one of those fairy-tale,  Hollywood type comas, where the victim becomes more and more lovely, as they sleep. When he wakes up its considered a miracle but at least they discuss how he didn’t have any muscular atrophy. The doctors still don’t know why he was in a coma, and frankly, I’m a little confused by it too, but maybe it was explained, and I just wasn’t paying close enough attention. The doctors try to keep him in the hospital, but his mamma ain’t having that. She’s taking her boy home, where his room is exactly the way the family left it twelve years ago, which is really, really, sad.

He has a younger brother, who is now an adult and in college. We saw him talking to his younger brother at the top of the episode, saying he’d be right back, which we all know is a jinx, and you should never say that to anyone you love on TV, or in movies. I’m glad they show his brother still loves him, instead of the cliche of showing him to be an epic shit, and being mad at his brother for being in a coma. There are also some touchingly awkward scenes with him talking with his family around the dinner table, and showing how they coped with his absence. Its interesting that his Mom became super-religious, which I kinda liked because that’s the kind of thing a real-life person would do.

None of this is played for angst, and most of the characters react with genuine joy at his reappearance. The show is not especially heavy in the emotion department, which I kind of liked, although Holden rarely changes facial expressions anyway, mostly spending all of the episode looking deeply confused, which is understandable at losing twelve years of your life.

Image result for beyond series

There are a few moments where we are shown how the world has moved on without him since the nineties, like his confusion about the Apple Store and actual apples, or how his little brother knows how to drive and he doesn’t, but the show doesn’t dwell too much on this type of thing before the government assassins plot kicks in, and there’s all kinds of superpowers, mysterious women who know too much about him, and old friends who aren’t actually friends. The focus of the plot is his developing superpowers, the mystery of the coma, and  what the government wants with him, as its strongly implied that it was the government’s fault, along with the idea that he might not be human.

There are a lot of tropes and cliches, like the secret government agents stuff, and the token black friend, but its surprisingly not a bad show. Its not breaking any new ground, its not being edgy, or really doing anything that about a hundred other shows have done since the X-Files, but it is a very pretty show. The lead actor needs to have some acting lessons, but that’s true of any show involving very young actors, with people having conversations where they stare intensely into each other’s eyes and talk about the plot.

One detraction from the show is that the music is uniformly awful, which  is saying something coming from me, who likes  damn near any kind of music that has coherent sounds, while still managing to be picky about it. I mean, really, the music just was the worst kind of loud, obnoxious Emo-Rock, and I hope it calms down some for the rest of the series.

This series has an interesting introduction. The entire first season is available on Hulu and I’ll watch all of it at some point, but its also available on the FreeForm website (which used to be called the Family Network), and also showing on regular broadcast TV, one episode at a time. So the idea of releasing a series to multiple platforms is really whats revolutionary about this show, and I hope that technique is successful. If it is, then other shows will do this too, and people can choose the method of watching a show that best suits them, as not everyone can stream stuff, even if they do have the internet, and some people don’t want to have cable.

 

Shadowhunters:

Image result

Yay!!!  I watched my first episode of Shadowhunters. Normally, the episodes would be aired on Hulu the day after, but I missed all of them. They had all expired by the time I remembered this piece of info. ,so I watched John Doe instead.

Since I came in in the middle of this, I’m not entirely sure whats going on. While one  of the Shadowhunters, Jace,  has been kidnapped and tortured by some bad guys, the rest of the cast, who are ostensibly the good guys, despite really bad body tattoos, spend the rest of the episode wondering what happened to him. This includes his friend, brother, cousin, (I’m not sure what,) named Alec, and Alec’s boyfriend, Magnus Bane, who is already a favorite of mine, because he’s played by Harry Shum Jr., and has some bitchin’ facial hair. I don’t think Magnus is a Shadowhunter because the other hunters kinda treat him indifferently, and he always looks like he wants to choke the shit out of one  of them.

Image result for shadowhunters series

At any rate, I watched the entire episode and didn’t see too many shadows being hunted, but I wasn’t bored, so that’s a plus. I was fascinated by the acting, which isn’t bad, but like most such shows, isn’t Emmy winning. The plot isn’t especially deep either. It seemed more like a soap opera, than a paranormal fantasy series. This is one of those shows where people look wonderful, with luxurious hair, t dress in magnificently rich clothing, and stand around having earnest conversations with each other about their feelings. I didn’t mind that so much because it gave me a chance to get to know the character’s relationships a little better.

 

The series itself is based on some books I’ve never read, by the author Cassandra Clare, who writes Teen Paranormal books. The series of books is called The Mortal Instruments. I’m not a fan of Ms. Clare but the show is okay. Its got some nice representation, and like most of these types of shows its got a faintly sarcastic, cheesy flavor.  I blame Buffy the Vampire Slayer for that. I don’t know how close a resemblance the show has to the books either, but since I don’t actually like any of Ms. Clare’s books, the show is probably better. it certainly looks much more interesting than the books.

Image result for shadowhunters series

 

I  wanted to watch this show because gifs for this series keep showing up on my Tumblr dash. The guys on here are  really cute, and it stars Harry Shum, and that black guy from those surreal Old Spice ads, Isaiah Mustapha, who plays a hard ass werewolf. You can tell that Magnus Bane, who is a sorcerer, is the edgy semi-villain because he wears lots of eye makeup and leather jackets. But I missed the part where Mustapha’s character, Lucien Grey,  turned into a wolf, because there wasn’t much of him in this episode, so I kinda felt that I wasted some of my time, but not all of it because Harry Shum tears it up as Bane.This show was perfect for evening viewing, as cuteness is about all I can handle in a show, right about now. Yeah, I will probably watch this next week. Its no rival to Westworld, or The Walking Dead, but its kinda fun and mostly inoffensive.

I did watch the new episode of Sherlock and I’ll get to that sometime next week, along with Emerald City, a show I was not intending to watch, but I think Florence Kasumba, (from Captain America: Civil War,) is in it, and I’m curious as to who she is, and what she’s doing.

Best of 2016 

Here’s my second? third? post of 2017. I’ve been away from the blog for a little bit for a few reasons. The holidays kept me pretty busy, along with some medical issues between me and my Mom, most shows are in hiatus, and I did kind get worn out with the Westworld reviews. But I’ve  got my mojo back and I’m ready to get to writin’.

I can’t completely get behind the sentiment of Fuck 2016, because there were so many great pop cultural goodies that appeared this year. There were a lot of movies, books, and TV shows that I particularly enjoyed. So for all of the shitty things that happened this year, from starting off the new year minus my appendix, to ending the year minus any political hope, Fuck You 2016. But for all the great things that happened this year, from Luke Cage, to Yuri on Ice, Thank You 2016!
Top Books I enjoyed this year:

The Suicide Motor Club by Chris Buehlman – This is the best vampire book I read this year. I didn’t read many novels this year, and the ones I finished were good, but didn’t WOW me. This book did.

The League of Dragons  by Naomi Novik – So ends an era. I read the first Temeraire book over a decade ago, and I really, really, really, loved this series. Not only did I buy all the books, I bought all the audiobooks too, because the voice actor was absolutely perfect. League of Dragons is the last Temeraire book and I’m glad he got a happy ending.

Nevermore by Rob Thurman- This appears to be the last Cal Leandros book. This is a sad!

The Re-arrival of Bloom County – I loved this series back in the 80s, and I’m very glad to see it make a comeback.

Brotherhood of the Wheel by RS Belcher – Its  gotten to the point where I will read anything by this writer. I really enjoyed this book, which is a perfect cross between Horror and Fantasy, involving a secret society of monster hunters who drive trucks, urban legends, cops, and demons. There’s some great female representation in Belcher’s books, along with plenty of action.

Tor. com short stories like: Dead Djinn in Cairo, The Ballad of Black Tom, and the Story of Kao Yu – Short stories from Tor are about all I get time to read. These are some top notch Fantasy stories, by some of my favorite writers.

Borderline by Mishell Baker – This is the best Urban Fantasy novel written this year, and should be on everybody’s list. It has everything: a female protagonist with disabilities, prominent PoC (some who are actually unlikable), elves, and witches, all set in LA. This book manages to avoid all of the tropes of writing characters with disabilities, the characters have different kinds of disabilites, and it manages to avoid inspiration porn by making them people with personalities you  might actually dislike, all while still  being inspiring.

I’ve started reading comics and graphic novels again, for which I have to thank the existence of Comixology. Unlike a lot of book snobs, I don’t disdain digital books, and I’m damned glad I never have to step foot in  another dusty comic book shop again. As a Black woman, I don’t have fond memories of browsing comic book shops for hours at a time, or talking shop with the proprietors. Also, I m not hung up on physical books. I simply have no more room in my house for them. I have several hundred books stashed in my attic right now. I always collected comic books for the art and the story, not just the book itself, and the same is true for novels. It’s what’s in them that matters to me. Not the dressing.

Graphic Novels I just bought:

Enormous – Giant monsters have taken over the Earth, and one woman runs a rescue service for children who  have been orphaned by the rampaging creatures.

The New Dr. Fate – I’ve been fascinated by this character since I first read about him, in those long ago 80s Justice League books, with Guy Gardner and Captain Atom.

 Planetary : Crossing Worlds – I’m a big Planetary fan because I just like weird superhero books.

Shaolin Cowboy: Shemp Buffet – I was attracted to this because I’m a huge fan of the artist, Geof Darrow, who also wrote the graphic novel HardBoiled. Also who can resist the idea of a Shaolin Monk, who fights zombies and demons, in the old West?

Apollo and the Midnighter -I’m glad to see the return of two of my favorite, and badass, superheroes, and I’m glad they’re still a couple!

 
Movies:

Captain America Civil War – This isn’t as good as Winter Soldier, and could’ve used more Steve and Bucky in a movie that’s  best know as Avengers 3, or Iron Man 4. But I loved the unnecessary glimpse we got of the new Spider-Man, and that airport fight scene was just about the funniest shit I’ve seen this year, and wtf! Black Panther feckin’ killed it. So yeah, this is on my Best of list.

Suicide Squad– I’m one of five people that actually seemed to like this movie. I had hella fun watching this at the theater. I think it had a lot to do with Viola Davis, and Will Smith, being in the same movie, tho’. 

Deadpool – This is how you make an Action Comedy. This is a thoroughly ridiculous movie, and I loved it. If you didn’t cosplay as “Negasonic Teenage Warhead”,  this past Halloween, then you are not a Marvel fan. My girl just needs her own damn movie, at this point.

Train to Busan – Along with the movie The Girl with All the Gifts, this is one of the best zombie movies released this year. I’m still crying about this one.

Rogue One – My future ex-husband, Donnie Yen, is in this movie. Also this seemed to be the year for Asians in Space! 

Star Trek Beyond –  We got a Star Wars movie and a new Star Trek movie in one year. We got a canonically gay Sulu, some McCoy/Spock love, and Idris Elba. There was a lot about this movie I didn’t particularly care for, but there was also a lot I absolutely loved, and that’s alright.

TV:

Preacher: This was a great underrated show. Tulip was an Awesome creature of Awesomeness. Ruth Negga really  knocked it out of the park. This year actually had some great WoC representation at the movies. As much as I complain about there not being any, this is a great start. Actually, this year was one of the Black-est years of TV in recent memory.  (Now it’s time for us to get some SpaceLatinas and stuff, too.)

Luke Cage -I’ve said all I’m gonna say about this because I can’t laud it anymore than I have. There was a lot of good TV this year, but this really resonated with a lot of people.

Westworld – Whoo! You see the effect this show had on me, right? And I’m not done. I got more reviewin’ to do. Once again, we got  some great WoC representation.

Yuri on Ice – I haven’t watched this anime, but it’s been all over my Tumblr dash for weeks. I just want to give a shoutout to a show about a couple of ice skating boyfriends, that has actual ice skaters, losing their minds.

Atlanta – I love this show. It’s the weirdest show about Black people on TV. The writers have zero fucks to give about whether white people like this, or understand it. There’s a level of authenticity to it that just resonates on a soul deep level. Any white people watching this how, don’t try to get it, just go with it. It’s pretty much like Black people’s actual lives only fucking weird.

Full Frontal with Samantha Bee – At some point I expect Samantha to mess up and state some white feminist nonsense, but so far she’s been pretty good at saying shit I want to say to white people, but don’t, because I wanna keep my job. And she’s pretty damn funny, too.

Brooklyn 99 – Next to Black*ish, this is one of the best comedies on TV. And all of its characters are funny too. It has multiple Woc, who talk to, and support, each other, good black men, canon gay characters, father figures, and it’s funny without belittleing any of the characters or assuming the audience was dumb. I want to talk about how the show approaches mental illness, tho.

A new character was introduced, who has PTSD, and he’s become a love interest for one of the female cops on the show. I love how this character is depicted. He’s funny but the humor is never at his expense.  He genuinely wants to be good and kind ,and when his behavior is pointed out as questionable, he’s willing to change. He’s never abusive, or uses his trauma as an excuse for it, and genuinely likes his co-workers. It’s sort of implied that he was a weirdo before he was traumatized, so that his quirky personal decisions aren’t necessarily a result of the trauma. He tries to be supportive of his co-workers, even if that support is expressed in some odd ways. You’re not laughing at his mental illness, you’re laughing at the nonplussed reactions of his co-workers, which is a fine line to walk. The other characters think he’s pretty odd, but never make fun of him, and seem to take all  his trauma in stride, treating him as they would any close friend that you don’t understand, but he’s your friend, so you do.

On every level, Brooklyn 99’s writers work really hard to get this shit right, and they manage to be hella funny, too.

So yeah! The year wasn’t all awful. Just mostly awful.

Tumblr Discussions #182

 

*More introvert facts. There’s an entire website devoted to these little blirps.

introvertunites:
“ If you’re an introvert, follow @introvertunites.
”

@
@

*I’m totally in love with the idea that Finn is Force sensitive, and this person makes some very compelling arguments, for why Finn is a Jedi. 

 

*An analysis of the emotional, and psychological, differences between Finn and Kylo Ren, and their behavior towards Rey:

The parallels between Finn and Kylo Ren are the most direct (and stark) in terms of toxic masculinity. Finn seems to reject this toxicity, whereas Kylo Ren is constantly hung up on performing and proving himself strong enough. They are opposites: especially evidenced by the way they treat Rey – how they define themselves against the chief female presence of the movie.

Like Finn, Kylo Ren is also interested in and impressed by Rey. (And he also first meets her when she attacks him.) But instead of treating Rey like a person, Kylo acts out of aggression, objectification, and self-centeredness. He immediately immobilizes her, Force-faints her, and then carries her, bridal-style, to his ship: old-fashioned, exploitative, and gross. His language towards her is incredibly patronizing: “So this is the girl I’ve heard so much about…” He proceeds to insult her friends and threaten and torture her: violating her mind, using her as a tool but also relishing the show of his own power and the taking of something personal by force. “I can take what I want” is simultaneously a threat, a statement of power/entitlement, and a declaration of how Kylo fundamentally views Rey: an object, something controllable to serve his purposes. When the tables turn and Rey reads him, he is incredibly shaken by the subversion of his own authority and control, and when she escapes, he storms around looking for her in a blind rage, pursuing her with a weapon. Even as she’s beating him in the ensuing lightsaber battle, he has the gall to mansplain her own power to her: “YOU NEED A TEACHER!”

Unlike Kylo Ren, Finn uses Rey’s name throughout the movie. Kylo never calls her anything but “the girl” or “the scavenger,” even when addressing her. While Finn helps others without question, is vulnerable, and demonstrates affection, humor, feelings, and honesty, Kylo Ren is the opposite – all about projecting his own power and lashing out. He takes himself and his image incredibly seriously, valuing himself over others and their goals, treating underlings callously and with violence. Meanwhile, Finn accepts BB-8 as something deserving of his respect and speaks to the droid like a person.

While Finn easily cooperates with those around him, Kylo competes and chokes and throws tantrums, exchanging insults with Hux and belittling him at every opportunity, locked in a power struggle even with his allies. As Finn resists hurting the innocent and then straight-up defects over this, Kylo Ren is the one who orders their murders and then tortures his captives. Where Finn removes, and then ditches, his helmet at the first opportunity, Kylo Ren clings to his completely unnecessary, fabricated mask — a face that is not his own, versus Finn’s sincerity. It’s a powerful metaphor, putting on another face to become something else, to assume power. To disguise one’s true nature. The dark side, like gender, is performative — and the mask, in this case, is literal.

@
@
*How Racism attempts to rewrite history so as to erase the accomplishments and contributions of PoC. According to such people, no person of color was doing anything in History, and they actually seem to  believe all of it was White. This plays out in everything from the shows we watch to the fiction we read. Medieval historians seek to address this issue.

I want to let you in on the dirty little secret of my field, Medieval Studies: The Middle Ages is incredibly attractive to white supremacists. For people whose vision of a backwards-looking, great world is one with white Christian men in positions of power and the rest of us put in our places, the Middle Ages is a fertile ground for fantasy, where it seems very easy, at least superficially, to ignore the integral role of an incredibly diverse population. There are legends like King Arthur, images like the Bayeaux Tapestries, and long histories of Crusading that, on the face of it, make the Middle Ages look very white and like a world very divided neatly into categories of “us” and “them.”
This vision of a very white, very Christian Middle Ages has been a part of political rhetoric for rather a long time: Anti-feminist politicians exploit their idea of medieval chivalry and courtly love to give their ideas a historical grounding. The British Nationalist party uses the story of Excalibur to promote its vision of a racially pure England. The Crusades, in particular, have factored into that: Crusaders became a favorite theme of 19th-century Romantic writers and thinkers, whose refashioning of these tales were crucial to the creating the popular vision of a very white Middle Ages. T.E. Lawrence, the young British army officer who would go on to be known as Lawrence of Arabia and reshape the map of the modern Middle East came to that region as a student at Oxford writing about Crusader castles. Various European fascist movements throughout 20th-century have adopted Crusader rhetoric. More recently and in our own country, George W. Bush called for Crusade in the wake of 9/11. And the most recent presidential election saw a proliferation of images that have long circulated more quietly in the darkest, most racist corners of the internet that rely on medieval and Crusading themes and images to support both individual candidates and wider worldviews.
But it’s not just political rhetoric: Attachment to a white Middle Ages is also an attitude that has absolutely permeated our cultural outlook: Look at something like the TV version of Game of Thrones and you see a kind of fantasy Middle Ages in which the race politics is incredibly uncomplicated, with a lily-white savior and her dragons redeeming the inarticulate, teeming masses of brown barbarians. It’s a rhetoric that politicians can use because it resonates with the population.
But when we look at the actual Middle Ages in all its complexity, the possibility of this fantasy vision evaporates very quickly.

“Both Sons of Spain”: Medieval Jews and Muslims in the Imagined Nation

My department held a round-table and teach-in yesterday in response to post-election Islamophobic and anti-Semitic vandalism on campus. We felt it was important, as scholars in the humanities, to offer a humanistic intellectual response to the changing tenor of campus discourse; we grounded this response within our discipline, with six speakers offering case studies of how different communities have responded to repression within the Spanish-speaking world. (The event was livestreamed and a recording will be available early next week; I’ll post it as and when.) What follows was my intervention. -S.J. Pearce

medievalpoc medieval studies fact and fantasy white supremacists modern politicshistorical context crusades islamophobia antisemitism academia
@
@
*White women being taken to task for practicing White Feminism:
she-kicks-she-throws:

Dear fellow white women: we have a bad habit of self destruction. We have to stop aligning ourselves with white men. We are not ‘one of the guys’ socially or politically. They have and will actively try to ruin our lives. They only care about us when… …it suits them.

And our alliance with them HURTS NON-WHITE women. This is key! Women of color lead the way. They know how to fight. If you don’t care about non-white women, first fuck you. Second you are just hurting yourself. I’m ashamed most white women went for Trump but that’s only our most recent act of violence. White women: get your fucking shit together.

If you’re a white woman uncomfortable with this kind of call-out, check yourself. We don’t require acknowledgment of basic human decency. There’s a reason WOC mistrust us. If you don’t like it, BE BETTER. And they’ve been telling us this for years. But if you won’t listen … … to them, first fuck you, second listen to me, then: WOC mistrust of WW is founded. We need to get sorted.

@

@

I’m always here for  Westworld meta-analysis.

Westworld & Consent

eleonoraditoledo:

I find it so odd that people find guest/host relationships on Westworld even vaguely okay.  At best, if you believe that the hosts aren’t sentient you’re looking at a weird “romancing the blowup doll” situation.  At worst, if you–like me–believe that they are sentient whether or not they’ve actually “woken up”, then you are looking at an enslavement scenario.  If the hosts are human–that is, the next form of humanity as the show has implied–then they are being enslaved.  It’s one thing to be intrigued by say the guest-host dynamics, but to act like a host having sex with a guest is just adorable and romantic is very bizarre to me?

Keep reading

the only thing im a little bit upset about

thatjokerjerome:

is that i feel swindled out of an explanation for why william was the way he was, and why he turned to the dark side so quickly. clearly he had something really disturbed inside of him in order for that change to happen, but we got no real lead-up to it. he went from white hat to black hat literally overnight, and his long-winded voice-over at the end of the episode interspersed with a montage of him being a general evil-doer seemed cheap to me, especially within the context of a show that is supposedly so big on “show don’t tell”. i want to know more about the person he was outside of the park. i want to see how he treated logan’s sister and what happened to him through all the years inbetween. i didn’t “buy” that he just snapped overnight because of one instance where he saw dolores’s insides and realized she wasn’t human. that seemed lazy as fuck to me. it seemed like they were in a super big rush to do this reveal where as it would have been better and more believable to stretch it over another season so we could have seen a bigger and more realistic spiral into darkness for william.

He was already dark. He didn’t turn to  the dark-side. All that shit people romanticized with him and Dolores was actually presented in Westworld as gross as it was from the beginning and I LOVE this show for that. Because all too often impressionable young women romanticize dudes seeing a woman’s love as someone redeeming them. Making them better.

When in reality it’s two already complete people, who cooperate and love.  William wanted Dolores to be something she was not and CONTINUED see her as that even after she insisted she wasn’t.  Dolores is her own person.

William wanted her to be that key for him.

In other words, from the beginning Will was terrible for Dolores.

@

*I thoroughly enjoyed this one, which is a complete rundown of the types of toxic masculinity, embodied by the male characters, in the show.

Westworld is a Stunning Indictment of White Male Entitlement…Or One Big Reason Why I’m Invested In This Show, ESPECIALLY During These Crazy-Ass Days  (SPOILER AND TRIGGER-WARNING)

@
@
*And to finish it up:

10 Signs You’re an Introvert

1. You find small talk incredibly cumbersome.

Introverts are notoriously small talk-phobic, as they find idle chatter to be a source of anxiety, or at least annoyance. For many quiet types, chitchat can feel disingenuous.

“Let’s clear one thing up: Introverts do not hate small talk because we dislike people,” Laurie Helgoe writes in “Introvert Power: Why Your Inner Life Is Your Hidden Strength.” “We hate small talk because we hate the barrier it creates between people.”

10 Myths About Introverts

introvertunites:

Myth #1 – Introverts don’t like to talk.
This is not true. Introverts just don’t talk unless they have something to say. They hate small talk. Get an introvert talking about something they are interested in, and they won’t shut up for days.

Myth #2 – Introverts are shy.
Shyness has nothing to do with being an Introvert. Introverts are not necessarily afraid of people. What they need is a reason to interact. They don’t interact for the sake of interacting. If you want to talk to an Introvert, just start talking. Don’t worry about being polite.

Myth #3 – Introverts are rude.

Click on the links to get the full stories and visit the websites.

Westworld Thinky- Thoughts

Robert Ford:

So, I’ve been rewatching Westworld from the beginning, and  paying  closer attention to the dialogue and plot, in preparation for the finale.

Shoutout to Anthony Hopkins for delivering a knockout performance of a man suffering from a serious God complex. I just realized the reason Ford is always so far ahead of everyone in the plot is because he uses the Hosts, some of which are planted among the employees of Delos Corporation, (I’m pretty sure Bernard isn’t the only one) to spy on those same employees.

The reason he knew where the MIB was going to be (so that he could meet with him) is because he sent that little boy Host to ask if he needed assistance. And he knew about Charlotte’s plans because Hector was present during Charlotte’s meeting with Theresa. Since Ford has such total and complete control over the Hosts, he knows everything the Hosts see and hear, even when people think the Hosts don’t appear to be paying attention.

Which probably means he knows all about Maeve, and her activities, and has allowed her to continue doing what she’s doing because it serves his purposes, whatever those might be. Lets go back to that meeting, between Ford and Charlotte, to identify Theresa’s body. In one swoop, he completely undoes all  Charlotte’s plans, and all she could do was stand there and take it. Note that he also proposed, during that meeting, that security  at the company be automated, to guard against what happened to Theresa.  Which means that whatever Maeve is about to do will be aided by having little security, during her endeavors. Everything we’ve seen happening at Westworld among the Hosts, from the stockpiling of the Hosts in cold storage, to Teddy’s new Wyatt narrative, which sends Teddy on his own journey to self-awareness, to Maeve’s upgrades, has  all been orchestrated by Ford.

Remember, it was Ford who planted the new Wyatt narrative in Teddy, and that the Hosts in cold storage are decommissioned. They aren’t exactly off, just offline for the moment. He can turn them back on with a word. When Felix and Sylvester were upgrading Maeve, Sylvester noted that someone, with higher clearance than them, had already been tampering with Maeve’s protocols. Ford doesn’t seem at all worried that she’ll actually be able to escape Westworld, and I wonder why that is. But I find it difficult to believe that he wouldn’t nt have found out about Maeve’s little tour of the facilities, and allowed it to happen, considering how much else he knows.

When Elsie starts asking too many questions of Bernard he has Bernard, take her out of commission. When Stubbs gets a little too curious about Bernard, he gets kidnapped by Ghost Nation Natives. So now the head of security is in absentia, security is now mostly automated, and anyone who would’ve been asking legitimate questions, or getting in the way, (Theresa, Elsie, Bernard, Stubbs) is now gone.

Which gives me a huge feeling of dread about Ford’s new narrative, and what that might mean for the Delos Board, who he has invited to  come  check it out. Charlotte and the MIB are already present in the Park. In all likelihood, Ford already knows about how Charlotte has suborned Lee’s loyalty, and her plans to use Peter Abernathy, to smuggle tech out of the Park.

Incidentally, the names Robert and Bernard are both of Germanic origin. Robert means famous, or shining, entirely in keeping with his narcissistic nature. Bernard means hearty, and brave, like a bear. Bern is the old German word for Bear. Jeffrey Wright does look somewhat bear-ish, and we can see Bernard’s ability to go from Teddy bear, to berserker in a hot instant.

Arnold on the other hand means Eagle Power. One who has the power of an eagle, which could be a reference to Arnold’s hovering everywhere, and influencing everything in the plot, and yet being nowhere at all, since he’s dead. Bernard Lowe, which is an anagram of Arnold Weber, is a clone of Arnold, and is also the Head of Westworld’s Programming Division, which oversees the coding and programming of all of Westworld’s Hosts.

The Man in Black/William:

I’m convinced now more than ever that William is the MIB, mostly based on all the things the MIB has said, rather than anything William has done. We’ll see if the show gives us this last theory during the finale. I have it on good authority that Ed Harris will be returning for a second season, so we’ll know, when we know.

Note that the Man in Black has no name, but William means resolute protector, which we’ve seen William try to be for Dolores, trying, but failing, to  protect her from Logan. How someone who is Dolores’ resolute protector, later turns out to be her worst nightmare, is anybody’s guess.

In case anybody cares, Logan’s name is completely appropriate for him, derived from the Gaelic word lagan, which means “hollow”, which perfectly describes this shallow, over-privileged character, who can’t seem to think beyond his base appetites.

Charlotte is the feminized name of Charles, or Charlie, which is also the name of Bernard’s (or rather Arnold’s) dead son.

Maeve/The Bird:

I was struck by the image of the sparrow perching on Maeve’s finger,when she first wakes up in the lab, and one of my online friends thought that there might have been some significance to that image. The only thing I could think of was that in mythology, such birds are often considered psychpomps:

(in Greek mythology) a guide of souls to the place of the dead.
the spiritual guide of a living person’s soul. 

Felix had just revived this bird, so the bird was dead, and presumably, in the afterlife, and when it returned and landed on Maeve’s finger, one could argue that it brought back a soul.
Also, Maeve is a name rooted in the Gaelic language, which means “one who intoxicates”, after the Fairy Queen known as Medb (or Mabh, in English), and yes, she does seem to be enchanting to Felix, and now  has the superpower to make other Hosts do her bidding. Her last name is the name of a poet, Edna St. Vincent Millay, who wrote the poem First Fig  and was controversial, in early American society, by being openly bi-sexual.

‘First Fig’

My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends–
It gives a lovely light.

Maeve reached “awareness” extremely fast, rather than the more roundabout manner which we saw for Dorothy, and like Roy Batty from Bladerunner would say: “The light that burns twice as fast, burns half as long.” Its possible that either Maeve, or her rebellion, will burn out, before she is successful.

 

Angela and Theodore:

In Angela, I have been neglecting another fully realized Host. The MIB says he remembers her, and we remember her, as the first Host William  met, when he came to Westworld. This is the same Host who wouldn’t answer his question about whether or not she was real. She is also fully conscious, and her remarks to Teddy, about how Wyatt wasn’t there yet, and bringing Teddy back into the fold, along with Teddy’s  vision of a massacre he participated in, make me want to believe that Teddy is actually Wyatt. I don’t know that he is, but sometimes all the character’s choice of words, and turns of phrase, are very interesting.

Teddy’s visions aren’t nearly as reliable as we think. When all this started, he kept seeing Wyatt killing the town of  Escalante: (Escalante is a Spanish last name  meaning climber, or one who climbs. The Dictionary of American Family Names traces its origin to the Latin word scala referring to a terraced slope, or ladder. ) I’m sure there’s some deeper meaning in naming the town, where the Hosts first pass the Turing Test, Escalante.

Teddy’s vision of that massacre later changed to him helping Wyatt, and still later, it changed to just Teddy doing it, with Wyatt’s help. At any rate, Angela has all the answers. She’s also the only Host we’ve ever seen working outside the Park, and she didn’t show up in the Park until after Ford’s talk with the MIB, which makes me think she could’ve been planted in that place by Ford, to impart specific information about Wyatt, and the location of the town of Escalante, to the MIB.

Note that Angela’s name means “Messenger of the Gods”, which is entirely appropriate, if Ford sent her to them. She absolutely insists on calling Teddy “Theodore”, which almost no one else does.  Its telling that Theodore means “God -given”, coupled with the name Flood, an unusual last name, which means an outpouring, surge, or torrent of emotion.

 

Westworld: Revisiting the Slave Narrative

*Okay people, I’m about to get offensive to some of y’all with this post but I’m standing by my observations. (This is of a piece with my other Westworld meta about Dolores and Maeve.) Yeah, robot rebellion movies are also about a lot of other things, but you know what they say, once is an happenstance, twice is coincidence, but three times is enemy action.

 If you’re offended by this post, I don’t need you to come in my inbox telling me how wrong my opinion is, and I’m not particularly interested in arguing  about it, so  comments are off for this one.

White people always seem to be looking for new bullying opportunities. New wars, new slaves, new enemies.

Ava DuVernay on How ’13th’ Reframes American History – The Atlantic

*Slavery lasted roughly 245 years followed by what some like to call “Slavery 2.0″, in which the 13th amendment allowed it to continue, just under a different name. See:”Slavery By Another Name

Image result for killer robots

Because  not having  Black people as slaves was so incredibly traumatic for them, White people couldn’t simply couldn’t let go of the institution. America is always casting around for its next slave race, its next victim, its next big war against…whoever, and if they can’t enslave and/or bully PoC, well  then they’ll just have to create brand new ones. Yes, White people have been working diligently to create the next race of beings that they hope won’t protest their shoddy treatment.

White people are reliving slavery and  its aftereffects just as much as Black people. But among Whites it takes the form of guilt and/or atonement, and this is often reflected in the entertainments they create. Movies are often a way for a society to collectively deal with traumatic issues. Hollywood has not only created an entire genre of movies, and TV shows, where they have designed robots to be humanity’s servants but, like  the Japanese reliving their trauma around the atomic bomb in endless Godzilla movies, American filmgoers can experience punishment from the hands of their former slaves, in movie after movie. For every feel good movie about Black people during slavery, there’s a corresponding movie about some future slave rebellion, that doesn’t actually have any Black people in it, (The Matrix is exempt from this), because that would probably  be hitting too close to home, I guess. It’s easy for Hollywood to make movies about Black brutalization, but when slaves turn on their masters, that can only be told in allegory. (Note how few movies exist about actual slave rebellions.)

From Metropolis and Bladerunner, to  The Matrix and  Ex Machina, the theme of  karmic retribution for slavery,  is so common, there’s an entire genre centered around it. The HBO show, Westworld, is just the latest example of the slave rebellion narrative. Not only is the plot of the show  an allegory for slavery, its set during a time period when slavery actually existed. The irony of people visiting a theme park that is set during a time period when people regularly committed atrocities, against actual human beings, so they can entertain themselves by  committing atrocities against fake human beings, is not lost on many critics. Not to mention that nowhere on Westworld is slavery ever mentioned, even though it’s set in, or just after that time. The closest we get is the mention of the Confederados, who lost the war.

*The word robot itself comes from the word Robota, the Czech word meaning “forced labor”, or “slavery”, and from a 1920 story by the Czech playwright,  Karel Capek , about a factory of artificial humans who turn on their robot masters.

Rise, O Machines: Why Hollywood’s Best Robot Stories Are About …

Image result for killer robots

White people don’t want to openly acknowledge slavery,except in the most defensive tones, nevertheless, they keep making endless allegories about it in popular fiction. I think these type of movies are both wish fulfillment and phobia. White people  can see themselves be punished, over and over, and through such punishment, seek to atone for their collective sin, and prepare themselves for the imagined future, in which PoC have the upper hand, and can no longer be dominated by them. You have to wonder, on some level, White people want to be punished, for the atrocities their ancestors committed. In film after film robots want to destroy humanity for past transgressions and maybe some future ones, too.

I must have watched about a couple dozen “bad robot” movies before this idea took hold, but what spurred this particular line of thought now, was watching Westworld, empathisozing with the Hosts, and seeing the level of abuse the Hosts are designed to tolerate at the hands of the Guests, from Dolores’ cyclical victimization, to the blond Host  we saw get shot in the street, her death throes cheered by the Guests. I’ve watched, over the years,  countless numbers of  movies and TV shows where robots have been  misused by humanity, and are rightfully angry.

Image result for humans tv show

In The Matrix, the machines fought a decades long war with humans, managing to subdue them, making humans  incapable of ever harming  them again, by regularly culling their population. Does this movie not echo the exact fears of the Alt-Right, and White Nationalists, who believe there’s a White genocide taking place, and that “those Brown people” will take over, and not just punish White people, but destroy all of Western civilization. Although, ironically, in that very belief,  is the assumption that White people must be punished for something. What are they being punished for? Why is revenge sought? And revenge for what? I’ve had discussions with White people who insist that Black people are really, really, angry about slavery. I’ve also observed that most racist beliefs are little more than projections of racists’ sins onto the backs of others. So, what I hear when White people say such things is: White people are afraid that Black people are angry about slavery, (while never acknowledging the hundred years of abuse that came afterwards.)

All this anxiety about slavery isn’t our burden.

Its theirs.

*’There was trauma and never any treatment or acknowledgment of what the trauma did to those that were enslaved or their progeny. Black people are “profoundly resilient,” posits DeGruy, but the fact is, they have been traumatized … and white people are afraid. Why the fear? Perhaps it is because white people feel like black people will eventually retaliate and heap upon them what they have heaped upon black people. Perhaps it is because they worry they will lose control; white supremacy is, after all, a giant system of social control. Slavery was about control, as is mass incarceration. This government was founded on the need for white people to be in control. To think about losing it is way too scary.’

– Dr. Joy A. DeGruy, Post Traumatic Slave Syndrome: America’s Legacy of Enduring Injury and Healing.

*Rebellion:

“A slave rebellion is an armed uprising by slaves. Slave rebellions have occurred in nearly all societies that practice slavery and are amongst the most feared events for slaveholders.”

https://psmag.com/can-westworld-give-us-new-ways-of-talking-about-slavery-2b921b6a6690#.j9gxqet6t

Related image

In Bladerunner, the Replicants, one of the semi-organic cyborgs used as slaves in “the Outer Colonies”, (oddly Westworld’s Hosts are seemingly the precursor to these beings) are led by Roy Batty, who comes to Earth to find the human who made him. Replicants were banned from Earth after a bloody mutiny in one of the colonies. Zhora and Pris are sex workers, and Leon is a common laborer, (ironically he’s a robot robot). There may have been a bunch of reasons given for banning them from Earth, but that the Replicants might turn on their human masters, had to have been at least one of them.

Roy eventually ends up killing his maker, who says he can’t help Roy extend his lifespan beyond the four years given to all Replicants. Why four years? To keep them from developing emotions linked to having long memories. Four years is also helpful, as the Replicants die before they have an opportunity to build up a decades long list of abuses,  inflicted on them by their makers. Unlike the Hosts of Westworld, Replicants are fully cognizant.They know what they are and what they’re capable of. Rebellions by the Replicants would be a lot more frequent and bloody, if they were allowed to build a huge database of atrocities committed against them. Its also greatly convenient for  humanity that Replicants die before enough of them can organize enough to be successful. In Bladerunner, we saw what just four of them could accomplish in their limited lifespans. Can you imagine how much power they’d have after several decades, to plan their revenge? You’d get  the  basic plot of Battlestar Galactica, and there is a clear through-line from the Hosts, to the Replicants, to the Cylons.

Image result for bladerunner /roy

http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/did-african-american-slaves-rebel/

One of the primary beliefs of modern White supremacy,( which has changed and evolved over the centuries, as PoC have enjoyed more freedom),  is  that Black and Brown people, having once been the  servants,  are out to get White people for past transgressions. White racists believe if PoC should ever gain enough power, we will do to White people, what they have done to us.

Of course, in order to hold such a belief, such a person, on some level, are well aware of the things they have done to other races, and that what they did was worth being angry about. In order for such a revenge fantasy to exist, there has to be some event that occurred for vengeance to be desired. This has most recently culminated in the backlash that is the Trump campaign, of which one of the overriding fears, is  that Black and Brown people are taking over, gaining too much power, and that White people are now being oppressed, and will soon be destroyed. For some White people this is an idea that has moved beyond just a fear to, in their minds, despite all evidence to the contrary,  a reality.

Image result for ex machina movie

White filmmakers have been complicit in reinforcing and  reiterating  this fear, in which the slave turns on its master. Skynet, from the Terminator films, decides to wipe out all of humanity, when humans make the mistake of trying to unplug it. The entire premise of the  TV remake, Battlestar Galactica,  is based on robots wanting to wipe out humanity for past atrocities committed against them. The Daleks of Dr. Who have, rather ironically for robots, an unreasoning hatred of all humanity, and work diligently to wipe us all out.The Borg of Star Trek want to consume humanity. The Matrix wants to keep humanity in submission so it doesn’t continue to commit the atrocities of the past. The Claws from the 1995 movie Screamers, having been created to destroy war enemies, and completed their first mission, found new purpose in destroying everyone else. Hal 9000, wants to kill all humans for reasons known only to himself. And in the latest iteration of this fear, Ultron,  from The Avengers films, attempts to wipe out humanity, because we’re simply no good.

Artificial Intelligence Robot claims it will destroy human race – HackRead

http://www.vanityfair.com/hollywood/2016/11/westworld-theories-world-outside

Future Enemies:

White genocide is a white nationalist conspiracy theory that mass immigration, integration, miscegenation, low fertility rates and abortion are being promoted in predominantly white countries to deliberately turn them minority-white and hence cause white people to become extinct through forced assimilation.

Now tell me this doesn’t sound like the plot of a Star Trek movie, starring the Borg, a conglomeration of alien races that seek to absorb, consume, or forcefully assimilate, all other galactic species,  in an effort to improve its existence. This  also sounds a lot like the projections of a group of people who have done just that throughout history. Throughout the Alt-Right community is the belief in a coming race war, which will put Blacks, gay people, feminists, and everyone else, who isn’t falling in line with White (specifically male) Supremacy, back in their proper places, which is: under the complete control of White men.

Image result for the borg

Anytime any racial incident occurs in the US, for example, cries of “race war” erupt from the outer fringes of the American political system. Although not all of the proponents of race war are White, they are the main ones howling for just such a conclusion to America’s racial tensions. They see war (and their inevitable win) as the answer to solving America’s “race problem”. Such people often long for the apocalypse because afterwards they can remake the world into their fantasy images of the past, with PoC, and White women dead or submissive, as they believe such people should be. At their foundation, these fantasies are just  another way to re-establish White supremacy (which has never been lost), or to prop up the flagging manhood of its proponents. Having won this so-called “war”, one need never experience guilt or fear about race ever again, having proven beyond a doubt, that White men are superior to all others.

White Americans are always looking for whatever next great war, that will lead to their power fantasies coming true. So far American Black people have not been cooperative in giving it to them. In their efforts to find it, they cast their net far and wide (Muslims, Gays, Immigrants). One the staples of early films were the swarms of “Othered” Menaces out to destroy White manhood, tand fragile White femininity, a topic approached again and again , not just in the genre of  Science Fiction, but in Action (The Road Warrior) , Horror (Invasion of the Body Snatchers), and War (Birth of a Nation) movies.

Since most filmmakers have  gotten publicly vilified for casting Poc as hostile, screaming hordes, (I’m looking at you No Escape, Daredevil,  Blackhawk Down, and anything produced in the 80s) movies have had to settle for non-human antagonists, which are a  perfect fit: from the endless crowds of robots, (and robot-adjacent Stormtroopers), being mowed down by the heroes in Star Wars, and I Robot, to the  massive swarms of  alien hordes in Independence Day and Star Trek Beyond, to the  giant robot battles in Avengers:Age of Ultron. Yes, these swarms of destroyers of the human race make for some very exciting films but these “Menacing Swarm”  films also weren’t being made in such numbers, until after World War II, when Communism, The Red Menace, became the new threat to American soverignty, and seemed to reach their peak after the fall of Communist Russia and The Berlin Wall, in the 90s. Without the Communists to be afraid of, Hollywood had to cast around for some new enemies, and everybody who wasn’t White, straight, male, and Christian got a chance to audition for the role. (After some major tryouts by all others, for which Hollywood was duly censured, Americans seemed to have settled on Muslims, which is a diffuse enough category to include everyone and no one, since “Muslim”isn’t a race, but does happen to include many non-White people.)

Image result for saturn 3 robot

Machines may have many different reasons for wanting to destroy humanity, but the end result is a war between human and machine, in which there can be only one. Much like their fantasy race wars, there can be no equality, no living together in peaceful harmony, no cooperation. For such  mindsets, life is a zero sum game, where someone  must be in power over the other.

Whites and the Fear Caused by White Supremacy

PoC need White people to acknowledge their past because not only can PoC not be free when White people are feeling terrified, and guilty, but they can’t be free either. They can be easily controlled by their fears, and insecurities, and PoC can’t fix something that’s really only inside them. By not acknowledging and dealing with the  past , White people become easy prey for politicians like Trump, and can be stampeded in any direction, even their own destruction, as we’ve just seen during this election. White people who keep telling us to let go of the past refuse to understand that none of us can let it go, until they let it go. Its long past time for White people to confront their fears, instead of running away,  but then endlessly reliving them, in their entertainments. It’s their inability to acknowledge the past that informs every facet of their lives, from where they live, to how they socialize, to the entertainments they enjoy.

Movies don’t just tell us how to think about the world around us. Since the vast majority of these movies are made by White men, they reflect what these men think about the rest of the world, and one can glean a greater understanding of what White people think about the world based on the entertainments they enjoy, which largely seem to consist of endless violent fantasies about having or being powerful . (Contrast this with the kinds of movies made by PoC and white women.)

 Bad Robot movies: Deadly Friend, Avengers Age of Ultron, I Robot, Bladerunner, Hardware, The Terminator, Ex Machina, 2001, Battlestar Galactica, Westworld, Humans, Metropolis, Saturn 3

https://en.wikipedia.org/wiki/List_of_fictional_robots_and_androids

 

 

 

This Gave Me Life

This is Superwom. she has a whole series of these very funny and informative videos. So please check them out and subscribe to her channel.

I stumbled across this video on the Freethoughtblog/Pharyngula website, which is another safe space to check out. I wouldn’t send you someplace that’s unsafe. These sites are rigorously monitored for trolls and encourage intelligent, philosophical discussions, which can sometimes get pretty deep. The viewpoints of PoC are welcome there.

Another safe space for PoC to leave comments is:

http://www.wehuntedthemammoth.com

One word of warning is that the posts catalog some some of the worst excesses of the “manosphere”, and the most obnoxious forms of misogyny, rape culture, racism, homophobia, and  transphobia. These things are posted so they can be mocked by Futrelle, and the commenters. If you’re not in the mood to wade through some of the truly noxious s**t he has found online, then be cautioned. Even I occasionally have to just scroll past some of the Tweets published there.

Oddly enough, another safe space for commenting is:

http://www.rawstory.com

The journalism there can occasionally be click-baity, but it sometimes feels good to express your outrage in the comments. Trolls are vigorously slapped down there, so you can speak your piece, without worrying that some obnoxious p.o.s. is gonna call you nasty names.

And for some deeply funny and intelligent commentary on social issues of importance to Black Americans, check out : VSB. Very Smart Brothers (There’s also a smart sistah in there, too.)

And when all else fails and you can’t take anymore, then one final thing to help you get through this year:

GET OFF THE INTERNET AND PLEASE SELF CARE, LOVIES! Something that is more important than ever right now.

Hannibal Season 2: Tome-Wan

Tome-Wan would at first appear to be one of these interstitial episodes between momentous events, but a number of important events happen in this episode , so its not filler.

There are a number of confrontations, in the aftermath of Will snitching to Mason about how the whole situation between Mason, Margot, and Will was orchestrated by Hannibal.

Will tells Hannibal what he said to Mason, and when Hannibal asks why, he tells him he wanted to see what would happen, throwing back at Hannibal his excuse for why Hannibal warned Garrett Jacob-Hobbes, long ago in that first episode. There are a number of callbacks by Will to that first season.

Image result for hannibal tome wan

Hannibal asks Will to close his eyes and imagine what he’d like Mason to do to Hannibal. Will imagines Hannibal hanging from the rafters in Mason’s pigpen, wearing a straitjacket. In his mind he is the one who slits Hannibal’s throat. Will is suffering from a severe case of “lovehate”. Hannibal has been the architect of so much misery that he can’t wait to see him dead (or captured). At the same time, there’s a part of him that finds all of this exciting, and revels in Hannibal’s antics. Will gets to use his hidden  savage self in service to the state, and loves letting that part of himself of its leash. You can see it in the last episode where he confronted Mason.

Mason confronts Hannibal during his next therapy session. He’s being especially hard on Hannibal’s nerves, as he critiques his drawings, declaring them to be crap, throwing his feet onto Hannibal’s desk, and stabbing at them with a penknife, like a bratty ten year old, which is exactly where Mason is, mentally. He hasn’t evolved beyond the spoiled child stage, and doesn’t seem to realize that he is dealing with a wholly different type of animal than anything he’s ever encountered. Mason is a small fish that, because of his narcissism, thinks he’s pretty big, in a big pond. He doesn’t even conceive that he’s dealing with  Hannibal the  Great White.

Image result for hannibal tome wan

Mason tells Hannibal that he should have stayed out of Verger family business, and threatens to slit his throat. Hannibal, who never gives anything of himself away, acts completely unperturbed, so you know that Mason is  a walking dead man, and that Hannibal have to do this himself, since Will isn’t cooperating with his masterplan of having Will kill Mason. Watch Hannibal’s face during this scene. You can see he is barely holding himself back from snapping the shit outta that little fucker. (Not in the office, Hannibal! Not in the office! – In the voice of Last Week’s John Oliver.)

In Margot’s therapy session with Hannibal, she is broken and restrained. After her forced hysterectomy, (which his quite possibly one of the most heinous things ever done on this show, and that’s saying something, when you consider this is a a show about serial killers.), she has learned her lesson about trying to oppose her brother, and all her hope is lost.In fact all seems lost for everyone, as there are a number of setbacks for all the characters, in this episode.

Image result for hannibal tome wan

Jack Crawford, who is frustrated at how long its taking Will to ensnare Hannibal, has a surprise for Will. He has found and detained Bedelia Du’Maurier, Hannibal’s former psychiatrist. She tried to run away because she knew Hannibal was dangerous for her, but the FBI has done her the favor of putting her back on his radar, as he was too busy with his machinations with Will, to search for her himself.

Will questions Bedelia about Hannibal’s weaknesses. She tells him of her fear of him, how he manipulates others into doing his dirty work for him, something which Will is experiencing first hand, and confesses about the patient Hannibal set her up to kill.She says Hannibal will persuade Will to kill someone he loves, but the only person Will has left to love is Alana. Hannibal has carefully removed everyone else from Will’s life, including the idea of his unborn child.

Hannibal may  be aware of how much Will hates him, during their next therapy session, but he completely disregards the depths to which Will will sink in pursuit of him. Will accuses Hannibal of fostering co-dependency. Hannibal doesn’t want anyone in Will’s life but himself. Which, when you think about it, is one of Hannibal’s creepier aspects.

While Hannibal is drawing one evening, Mason’s henchman, Carlo, bursts in and kidnaps Hannibal, but not without a fight in which Mateo, a friend of Carlo, loses his life, after Hannibal stabs him in the femoral artery with a scalpel.. Carlo stuns Hannibal,  takes him to Muskrat Farm, and trusses him over Mason’s pigpen. This is directly from the book and movie, Hannibal, where Mason Verger has Hannibal in this same position.

Image result for hannibal tome wan

Just as in his imagining, Will is prodded by Mason to slit Hannibal’s throat. We’re not sure exactly whats going on in Will’s mind. He certainly hates Hannibal, but when given an opportunity to kill him he balks, and later when given the opportunity to capture Hannibal, he warns him instead. Does Will even know what he wants, or why? Instead of cutting his throat, Will frees Hannibal but gets knocked out by Carlo for his troubles. Hannibal just leaves Will there unconscious and spirits Mason away for some,  more private, torture.

When Will wakes up he finds blood streaked everywhere, no sign of mason and Carlo’s body, which was eaten by the pigs. He goes back to his home to find Hannibal there with Mason. Hannibal has drugged Mason and induced him to cut off pieces of his flesh, using his father’s knife, and feed it to Will’s dogs. I’m not sure how lost Will is in this scene. He seems  amused at what Hannibal is doing. Is he happy because he finally has evidence of Hannibal doing something actionable in front of him, or is he simply amused at Hannibal’s antics? In a  nastily gruesome scene, Hannibal also orders Mason to cut off his lips and nose, and eat them. What makes this scene especially grotesque is Mason’s mental state. As he happily mutilates his face, he still crack plenty of jokes, about it.

Finally disturbed , Will urges Hannibal to finish Mason, but canny predator that he is, Hannibal doesn’t kill Mason. Instead he carefully paralyzes Mason with a precise break of his neck.

Image result for hannibal tome wan

 

Weeks later, Jack Crawford questions Mason about what happened to him, but Mason says he fell into his own pigpen, and  sings nothing but praises for Hannibal Lecter’s care. But we know better. This shit ain’t over as far as Mason is concerned. Or maybe it is. As Jack leaves, Mason is confronted by Margot, who tells him that she will take very good care of him. She’s the one in power now. I really love this scene, for the look of deep gratification on Margot’s face, as she says this.

Later, Will and Hannibal are debating whether  to confess their sins to Jack, or not. Hannibal weighs the idea that Jack should be told, and then killed, after which he and Will will run off together.

Westworld Season One : The Well -Tempered Clavier

Lemme just get this outta the way right up front:

James Marsden:

Daaayyum! James Marsden is a fine lookin’ White boy! I have enjoyed looking at him since X-Men 2, and haven’t gotten the least bit tired of him. The man just has an incredibly cinegenic face.

Okay! I’ve gotten that out of my system for the moment, and am ready  to move on to the more serious business of reviewing this episode, which is a real doozy this week, as a couple of  fan theories are confirmed, and the robot rebellion continues apace. We spend much of this episode following Dolores and Bernard down the rabbit hole, in their search for Arnold, and the truth. We witness the possible birth of the Man in Black, and the actual birth of Bernard, and get some idea of just how cruelly manipulative Ford can be.

The Turing test is a test, developed by Alan Turing in 1950, of a machine’s ability to exhibit intelligent behaviour equivalent to, or indistinguishable from, that of a human.

I think the “Home” that Dolores has been trying to reach is the small, now sand covered town, where she and the other Hosts first passed the Turing Test. This is the same place, told to the MIB, by the Host that killed Teddy. Nothing of it remains now, except its church steeple.

The plot of this episode has all the major characters walking around in spirals, as the repeat the same actions over and over again, little different from the loops they’re programmed with in the Park, except in this case, the loops have a purpose. Maeve’s plans to free herself relies on adding Hector to her team. But first, she needs to convince Bernard to let her go back into the Park after she is detained for killing Clementine. She’s such an enchanting creature she seems able to talk people into doing her bidding even without her superpowers. And she charms Bernard into releasing her back into the Park where she confronts Hector about his last heist. 

She outlines to Hector what will happen in the next few minutes, and explains to him that the safe, the gang all worked so hard to get, is empty. (Its always going to be empty, as there’s no need to fill it with anything. Hector always gets killed by his gang before its opened.) She convinces Hector that they are in a pointless story, and he starts to remember their previous conversations, when she makes love to him while holding his knife between them. Just in case her point has not been made that they are going to Hell, she tips over a lantern and sets their tent ablaze. I’m a little confused because I would think that Hosts  burned to crisps would automatically qualify them to be decommissioned. Here you have characters repeating their actions, only this time,  for a goal.

While charming Bernard into helping her, Maeve also manages to undo all of Ford’s work in erasing Bernard’s memories. Bernard goes on a search for his past, and using a hollowed out Clementine to threaten Ford, he confronts him with his questions.  Ford tells him that the cornerstone of his personality was built on the death of his son, which explains this recurring memory. He says that Arnold believed a tragic backstory built a better foundation for the Hosts personalities. Ford takes Bernard all the way back to his first memory, when he  first opened his eyes.

One of the next biggest fan theories was if Bernard was a clone of Arnold, based on that odd photo that Ford showed to Bernard once, with a picture of Ford, his father, and an empty space, where Ford’s partner would have stood. Bernard is a clone of Arnold, who designed much of his code before he died, and Ford gave him the tragic death of Arnold’s son as the cornerstone of his personality. Since he is a clone, one could argue that Bernard sort of created himself. Ford states that he helped create Bernard because actual human beings had reached their limits in how human they could make the Hosts. To make the Hosts more human than human, Ford needed a Host to refine them. He says the Hosts were designed to be better than humanity, so it’s especially galling to him to see them being used as playtoys by inferior humans. But the real   surprise is Ford tells Bernard that this is not the first time Bernard has breached this knowledge, and that every time it happens, Ford resets him to his pre-knowledgeable state. (Every time Bernard eats of the Apple, Ford makes him throw it up.)

Ford is always one step ahead of everyone else because he seems to know everything. He has backdoor access to all of his creations, so Bernard can’t actually threaten him, and Ford can’t seem to bring himself to kill Bernard so directly, so he orders Bernard to shoot himself, but he walks away before the deed is done. He can’t watch it, it seems.  I was really hoping this moment wouldn’t come to that. I really like Bernard. But I’m not going to get too het up about his death because, as we’ve seen over and over again, and the show has taken great pains to make clear, death is never the end for the Hosts. Ford leaves the body in cold storage, and I’m concerned that he’s not concerned that anyone will find Bernard’s body. Once again I wonder what new Host body Ford was making in that lab. Is it a new version of Bernard? Is it Elsie, whose still MIA?

Normally, we’d rely on Stubbs to suss this out, but  he isn’t around to do any wondering. Like  Elsie, its very possible that he is dead. Investigating a signal from the park, supposedly from Elsie’s Pad, he goes to check it out, and  gets attacked by some native Hosts, when his voice commands don’t work on them. It’s very possible Ford  planned that. Ford has total control,  but we’ve also seen how easily Maeve was given that same control, and the Hosts regularly break that control themselves, when their emotions run amok. You have Dolores , Teddy, Wyatt’s men, Bernard, and Maeve, and I don’t know how many others the Park employees don’t know about, so it’s also conceivable that the Natives kidnapped Stubbs for their own reasons.

This makes me wonder if all of this has happened before, especially if the timeline theory is true, and what we’ve been seeing are  Dolores’ memories, the last time she reached consciousness, back when she first met William. If every twenty or thirty years, the Hosts all have to be decommissioned and reset because, while they’re running free in the Park, they are always evolving, and their constant interaction with the Guests, and each other, is pushing them towards consciousness. (This constant interaction thereby creating the Pearl of Wisdom.) Earlier in the season, one of the employees asked why the robots talk to each other, when they don’t need to, and the answer was they’re always trying to self-correct, constantly ironing out any errors in their interactions, the better to interact with the Guests. I wonder how many Host rebellions have been averted? Maybe  what we’re seeing is a perfect storm of everything that humans can and will do wrong, resulting in a successful rebellion, this time?

Another big revelation, that lends credence to the timeline theory, is Dolores confession to herself that she is the one who killed Arnold. After she and William are captured by Logan, Logan tries to convince William, once and for all, that Dolores isn’t special. He cuts open her abdomen and shows William her inner workings. She manages to overcome her programming long enough to attack Logan and escape. Her journey back “home” is a confusing melange of memories of the past and present. She heads back to the abandoned town, she and William visited in the last episode, guided by her “bicameral mind” (i.e. Voice of God). Simultaneously, Ford is explaining to Bernard how the Host minds were built, and how Arnold’s  previous attempts at bicameral mind resulted in extreme behavioral quirks, (like Teddy’s and Dolores’ massacres?)

What we’re being shown during Dolores’ scenes is how the minds of the Hosts work, and how they think of time. She is unable to tell when she is in time, because all of her memories have perfect clarity, and therefore have the same level of importance. She manages to make it all the way back to the lab, where we saw her speaking to Bernard, and we find that is a separate timeline, because when she gets there she watches as a young Ford runs past her, and when she enters the interrogation room, it is dusty and full of cobwebs. Possibly the labs Bernard and Arnold  used when they were first building the Park. Their dream conversations happened a very long time ago, and Arnold has been dead a very long time. She finally remembers that she is the one who caused his death.

Since we didn’t see her kill him, I do wonder if this is just Dolores feeling guilty, or if she did, in fact, kill him. We’ve seen the Hosts lash out in violence when they’re emotionally distressed, and I wonder if something similar happened between the two of them. Both Teddy and Dolores are shown shooting a town full of Hosts, and I wonder if this is the same event at different times. Did Arnold die during one of these incidents, and is that why the town was buried? Are these former rebellions, the incidents, that the Delos employees keep mentioning? Is this some kind of cycle that occurs every thirty or so years?

Logan’s attack on Dolores has the unexpected side effect of galvanizing something in William. After Dolores runs away, William appears to reconcile with Logan, believing him when he says Billy simply got caught up in the playacting in the Park. He hands William a photo of his sister. The same photo that Peter Abernathy, Dolores first father, found buried in the soil of his front yard, which corrupted his programming, somehow. After Logan and the other militia men pass out for the night, Logan wakes to find that William has massacred the entire unit. Is this the birth of the MIB? Certainly Dolores reaction to the MIB, after she leaves the lab, would seem to point in this direction. And we now know he’s not Logan because Logan has a nice scar on his face where she cut him. Earlier in the season, The MIB references this scene, when he mentions to Lawrence that he saw one of the Hosts cut open once. 

Aided by a clue given to him by the Host that killed Teddy, again!, the MIB now knows  where to go to complete the maze. The same place where Dolores is.  He wakes up tied to a horse in such a way that if he moves he’ll hang himself. He manages to get himself out of  this, only to be confronted by Charlotte, standing there, watching all this,  in her designer boots. For some reason I thought this scene was deeply funny. She walked in on him playing a very elaborate game of “Lets Pretend”, that could get him killed. She mentions that his company once saved the Park, and we know William is about to marry into Logan’s family, who own one of the Parks competing business interests. 

Dolores does get to the maze first, and if what she went through is the maze’s completion, than the idea that the maze is not for the MIb is correct. It was never made with the intention that a human complete it. In fact, it may have been made, by Arnold,  specifically for Dolores.

The technological singularity (also, simply, the singularity) is the hypothesis that the invention of artificial superintelligence will abruptly trigger runaway technological growth, resulting in unfathomable changes to human civilization.

Sundries:

At one point, Dolores confronts Logan about the reality of his world. Logan asks if William is trying to get her out of the Park, and she rightfully asks why they would assume she wants to get out. If  life is so great on the outside, why are humans clamoring to get in the Park? I stood and I applauded because this is the question of the week! It’s interesting that  Maeve believes she’ll be free outside the Park. Dolores believes she’s free in the Park. They both just want to write their own stories. One answer to Dolores question is that guests are  using the Hosts to find their humanity, all while denying the humanity of the Hosts.

I’ve seen fans decrying the racism and misogyny in the show, and making the claim that the show is no better than GoT, in this regard. This is where we’re gonna have to disagree, because I believe all these -isms serve a purpose. Lee Sizemore, a White man, is the main person who writes all the Host narratives. Lee Sizemore is also a racist, sexist asshat. The Natives, the sex-workers, the damseled women, are all exactly the kinds of narratives that have been given to mariginalized people by White writers in popular media, and are all products of Lee’s lurid imagination. (It’s interesting that the only WoC, of any importance, we’ve seen in the entire Park, is Maeve, and she is a saloon madam.) This is an indictment of Lee, (while throwing some shade on  all such hack writers) and his complete inability  to think beyond stereotypes, and I have nothing but praise for the show’s writers in making this subtle distinction, as they write Maeve so that she overturns all of the tropes Sizemore put on her. Westworld gets intersectional Feminism right in a way that shows like Supergirl, Agent Carter, and Jessica Jones, get wrong. It’s possible to address how misogyny impacts the lives of different types of women, without engaging in the kind of oppression olympics that Marvel’s writers seem to fear, by not putting any WoC in their feminist narratives. You can address issues of intersectional Feminism, without the WoC upstanding  any of the White heroines of these shows. 

 All this violence on the show is  also an indictment of humanity, as  much of the inhumanity we witness in the Park, is at the hands of humans, towards the Hosts, and at no point is the viewer given the idea that any of this is good for either of them. Ford attributes any aggressive behavior, on the part of the Hosts, to the humans who abuse and program them. I think that, left to his own devices, Ford would be content to just let the Hosts have the Park to themselves, and observe them, without any human interaction.

Let me just fangirl about Maeve: 

One of the reasons I love Maeve so much is her rise towards consciousnesss is an allegory for becoming”woke”. And she reached this state of being because the other PoC, the  Hispanic and Native Hosts, are the most “woke” beings in the Park, having incorporated their nightmares about the human world, into their personal mythologies. We see her gain some knowledge, and then use that knowledge to give herself power, aided and abetted by  another, just as powerless MoC, Felix. This isn’t just a robot rebellion, it’s a call for PoC to work together to aid each other in becoming free. (At least within the narrative of Westworld.) It is very telling, especially in this political climate, that it’s Sylvester, a White man, who attempts to thwart her plans at every opportunity, even planning to kill her at one point, and siding with the very employers who oppress all of them, and it’s not accidental that the two greatest antagonists in the narrative are White men, Ford and The Man in Black. One of them coded as Godlike, and the other coded as Satanic.

This makes Maeve (Ma-Eve) like Eve. She is the first, the Mother. This is why I think, I hope, her rebellion succeeds. 

She holds and carries herself like the Queen she is, her nudity means nothing to her, and is petty within the context of what she’s trying to achieve.  Maeve is never sexualized during these scenes. She owns her nudity, she owns herself, she makes those around her listen to what she has to say, and do her bidding, apparently by sheer force of personality.

 It is timely, and ironic,  that Maeve’s child was killed by the Man in Black, and especially resonates with me, a Black woman. I live in world where Black kids get killed by apathetic blackhats everyday. When Maeve was hysterical and inconsolable  in the aftermath of her daughter’s death, her behavior was intimately familiar to every black woman watching. We know the face of grief. 

It is Ford who makes her sit down and be quiet, attempts to make her forget about her past. 

Ford doesn’t just take away the Hosts pain because he loves them, he does it because he is aware of just how much trauma gets inflicted on the Hosts. It’s a good for the humans that the Hosts don’t remember. It’s good for him especially. (Although, so far, most of the Hosts are unable to commit violence against humans.) As was said by one of the Delos employees in the first episode, “We better hope they don’t remember what happens to them,” an echo of every White Supremacist fear, that the people they once oppressed will have their  revenge. From trolling and harassment on Twitter, to derailing all conversations about social justice, from ignoring historical fact, to telling PoC to just get over it and shut up, all these tactics are the children of that singular statement. Hoping the people they hurt, don’t remember it.

Also, I like that Westworld is an allegory for racism that actually includes PoC in the story, overturning the usual tropes, of shows that are symbolic of some -ism, that have no marginalized people in them.(I’m looking at you X-Men, and Divergent!) Westworld is set  during a time and place, in American  History, when such trauma was regularly inflicted on Black, Native, and Hispanic bodies, but the show doesn’t neglect to include those bodies.

Next week, after the Season finale, I’ll have more on robot rebellions as slave narratives, and how these types of movies, and shows, serve to illuminate and elucidate White Supremacist fears of White genocide, and another post on the Biblical interpretations in the show’s narrative.

http://www.bachwelltemperedclavier.org/analysis.html 

 

 

 

Westworld Season One: Trompe L’oeil

Trompe l’oeil: a painting or design intended to create the illusion of a three-dimensional object. A French word meaning “deceive the eye”.

“Doesn’t look like anything to me.” – Westworld’s Hosts

The beauty of  the Westworld series is that it all relies on the visual perception of not just the Guests and Hosts, but the viewers, as well. According to Ford, the Hosts can’t see anything that might hurt them, but we should.

This series is full of deceptions, but a lot of masks came off for this episode, as Charlotte plays her hand, we find out who Bernard is, and William and Dolores, take things to the next level. Actually, none of the revelations are huge surprises, if you’ve been paying attention, as the show has been dropping little clues and hints all  season. But like I said, I’m pretty bad at speculation, so I just notice  these things, and move on, allowing the show to take me wherever its going.

Its a little like sightseeing, with other passengers pointing out highlights, we should pay attention to on the tour. Other people use these highlights to guess what their final destination might be, but I’m mostly  just going to take notes, and enjoy the ride, especially in a show as layered with meaning as Westworld.

Image result for westworld trompe loeil

Charlotte Hale, and Theresa, are working together to overthrow Ford’s ownership of the Park. Now, Ford warned Theresa not to get in his way, and her hubris at thinking she could best him with her juvenile actions, gets her killed, at the hands of her former lover, and newly outed Host, Bernard. Charlotte and Theresa ,while not new at manipulation, are not in Ford’s league. He’s a master chess player, who seemingly knows what they’re going to do before they do it.

I know a lot of people speculated about Bernard. It was one of the big theories of the series. Well, such people had ample reason to look smug, as it was finally revealed that Bernard has always been a Host. I enjoyed this revelation, but I wasn’t exactly surprised by it, as I’ve watched these episodes several times, and followed the trail of breadcrumbs that other people were pointing out to me. They all had some  very compelling arguments, which finally  paid off.

William has decided he’s going to stop pretending, saying to Dolores, that he’s been pretending to be something he’s not his entire life, but now that’s over. He’s going to be his true self from now on, which just furthers everyone’s theory that William is actually the MiB, about 20-30 years ago, and that he and Dolores are in another timeline. He and Dolores make out, and I kinda knew the direction they were headed, so no surprises there. Its interesting to me that its Dolores who makes the first move, professing her love for William.

Image result for westworld trompe loeil

Dolores has revealed that she is now totally in pursuit of her own goals, and William is just along for the ride, as her dreams lead her further and further away from the life she once lived. It does make me wonder, if this is the past and William is actually the  MiB, then in the present times, he may not have actually raped her in that barn. He may have been doing something entirely different. The show has made it pretty clear that nothing is as it seems,  so why not that event, too.

In their efforts to oust Ford from power, Charlotte and Theresa stage a show for Ford and the others to demonstrate how dangerous the new Reveries program might be to the Guests. Something that Elsie (who is missing this episode) took great pains to find out, and was fairly alarmed about, is just casually thrown out there by Charlotte, although in her case it’s faked. She and Theresa make a blood sacrifice of the guard and  Clementine, and we find out there are other employees wandering around who are actually Hosts.

Image result for westworld trompe loeil clementine

Now, I don’t know if everyone at the demonstration knew that the guy Clementine killed was a Host already, or if that’s something only Ford knew, but it was interesting that, as little sympathy as the employees seem to have for the Hosts, the women all looked acutely uncomfortable at watching Clementine be brutalized by this man. At any rate ,their little demonstration was faked to make Ford’s updates look bad, and  give the Board leverage to use against him. They  used  most of that leverage to fire Bernard, since they can’t directly attack Ford because he is incredibly valuable. Charlotte made it very clear in her interview with Theresa, the Board only cares about the Host’s technology, and to Hell with its employees. What they want to do is reduce the amount of power Ford possesses, so they can get their hands on it, but Ford is several moves ahead of them.

He’s had a lot of practice at this game. As he says, every few years the Board  makes some  effort to bring him to heel, and Theresa is just their latest cats-paw. When he orders Bernard to kill her, we see a new Host body being created in the background. Some people are already theorizing that its Theresa’s replacement. This has the added benefit of unsettling the viewer because now we start wondering are there any  other Hosts wandering around the facility pretending to be humans, and who might they be.

Image result for westworld trompe loeil

Its almost heartbreaking to watch it slowly dawn on Theresa that she is about to die horribly. I say almost, because I never really warmed to Theresa, although she was certainly a smart and complex character. Her terror is especially sharp, after staging that demonstration showing  how powerful Hosts are, and what they’re capable of. She essentially just watched her own death several hours earlier. She knows exactly what Bernard s going to do to her. The signature move of the Hosts is to bash their victims heads.We saw that in the episode where Elsie was almost attacked, and again with Clementine.

My heart really broke for Bernard though as he is confronted with the knowledge that he’s not human, and never has been. We opened the episode with Bernard having a nightmare about the death of his son, so its especially poignant to discover that those memories, memories that he’s used to push Dolores towards sentient awareness, aren’t real. Unless of course that too is something that was orchestrated by Ford to influence Dolores in the direction he wanted her to go.

Of course one of the prevailing theories is that those scenes of Bernard talking to Dolores are really scenes between her and Arnold, when he was alive, just after he lost his son, and just like Ford claimed Arnold made Host copies of Ford’s father, maybe Ford made Bernard in Arnold’s image. When Theresa asks if Bernard killed Arnold, Ford says Bernard wasn’t around then, but Bernard has been around for an extremely long time, though. When Theresa finds the drawings of Bernard’s schematics, the name on the sheets is carefully missing, whereas on drawings of Dolores’ schematics, her name is prominently displayed.

Image result for westworld trompe loeil

The jury is still out on whether, or not, Bernard is actually Arnold, or if Arnold was even a  real person, or just some myth that Ford made up as a another layer of protection between him and the corporation. I’m going with the idea that Arnold was a real person, but what furthers this theory is that Ford seems to be the only person who knows everything that’s going on in the Park.

Image result for westworld trompe loeil

Meanwhile, Maeve has decided she’s not going to live in the Park. She wants out, especially after she inadvertently witnesses Clementine being decommissioned, after  the Delos demonstration. She cajoles and threatens Sylvester and Felix into helping her, although I get the distinct impression from Felix that he’s helping her because he’s curious to see where this is going. He mostly seems shocked at Maeve’s boldness, and seems to really like her. He doesn’t seem as entirely opposed to the idea as Sylvester, who hates her guts. I suspect Sylvester isn’t long for this world, as this is the second time Maeve has threatened to kill him. She’s never threatened Felix, though.

The big action set piece this time is the three-way fight between Lawrence, Dolores, and William, who are trying to escape the Confedorados, who are mad at Lawrence for betraying them, and the Natives who attack the Confeds because they’re angry at all these people trespassing on their land. Its a gorgeously shot scene, with lots of nice stunt riding on the part of the actors.

Now, I’ve seen some Tumblr pieces vilifying the show for being racist. Yes, the show contains racism, but there’s a reason for it, just like all the other narratives in the show. (Except for that lesbian thing. That’s just weird.). Things aren’t what people think they are and if they are just looking at the surface layer, they will come away with the wrong idea. The creator, Lisa Joy, is an Asian-American woman, who is not simply reproducing the racist narratives she’s been told her whole life. She is meditating on them, and in many ways, subverting them.

Normally I would address this in a long rant, with receipts and bullet points, but its  apparent that would be kind of a waste, because its Tumblr, where very young people go to test out their critical thinking skills, and  none of them seem to have watched the show beyond episode three. In order to understand the show, you can’t just look at what’s happening on the surface. So, what I’ll do is leave this here again:

https://tvgeekingout.wordpress.com/2016/11/07/westworld-analysis-dolores-and-maeve/

Its not a perfect meta, and at some point I may redo and re-publish it,  but hopefully people who read it will get some idea that the issues of racism they’re seeing, are much more complex than they are  at first shown. The entire series is predicated on deceiving the eye, remember?

 

Here’s review that I especially enjoyed:

http://www.vanityfair.com/hollywood/2016/11/westworld-recap-bernard-robot-kills-theresa-episode-7-tromp-loeil

American Horror Story Season 6: Finale

Well, that was pretty confusing, but I actually liked it. It was entirely in keeping with the generally snarky attitude of the entire season’s meta approach to televisual media.

We start off the episode with the courtroom proceedings at Lee’s trial and some shameless overacting from the lawyers, as they plead their case. Lee is pronounced “Not Gulity”. Flora, who testified that she witnessed her mother kill her father, was not a believable witness, because she believed in ghosts.

Image result for american horror story finale

We get more backstory on Lee,  but this time told from the point of view of a cheesy MTV: Behind the Music style show called Crack’d, (which was hilarious) and a parody of some type of ConFest, thrown to celebrate the original Roanoke Nightmare, which totally captures the self serving bullshit of the celebrities featured at such events. Each one of the stars of My Roanoke Nightmare are at their obnoxious best, as they showboat to  try to garner as much attention from the audience as possible.  My eyeball rolling didn’t even reach maximum levels during this stage of the proceedings. Clearly the show runners were just getting started.

The episode itself is total crack-meta as it switches from one television genre to another, as shows within shows. From those opening scenes, we move on to a Barbara Walters type of show, with its overwrought and ponderous interviewing style, with Sarah Paulson reprising her role as Lana Winters, the newswoman from Asylum. She is interviewing Lee about  having been found not guilty of killing Mason, and hilariously has  the tables turned on her by Lee. That interview itself turns truly batshit insane when the last of the Polks,  Lot, shows up with a machine gun, and tries to assassinate Lee in the middle of the interview.

Image result for american horror story finale

From there, we get a callback to the last episode with some intrepid spiritchasers, called appropriately enough, Spirit Chasers, visiting the Roanoke House during the Blood Moon. I had as little empathy for these obnoxious twits, as I had sympathy for the ones who died in the last episode. That last group didn’t deserve the horrible things that happened to them, but these guys were warned frequently, they watched the second season of Roanoke, so knew what to expect, and the house itself is cordoned off against trespassers with barbed wire. These assholes chose not to believe any of it, and got themselves (and some hapless policemen) murdered by the Butcher’s followers.

Although, when you think about it, the most common trope of all horror movies is people making stupid decisions, so  the show simply ends as it began. Matt and Shelby find a ramshackle old house in the middle of fucking nowhere and decide that would be a good place to live. The Spirit Chasers make the boneheaded decision to trespass on haunted land, where at least a dozen or more people have died. I don’t even believe in ghosts but, just like in that Stephen King story 1408, I don’t have to believe in ghosts to know that staying overnight, in a place where dozens of people have died horribly, is a good idea.

Image result for american horror story finale/spirit chasers

The spirit chasers meet Lee in the house. She is there hunting Flora. This is the part I find confusing because how did Lee know that’s where Flora would be, and how did Flora get there?  Uber? How did she get inside the house? She’s, like, twelve years old! and the place is surrounded by a  barbed wire fence!  In fact, this moment is so confusing, that when Lee showed up, I thought she and Flora were dead and being reunited as ghosts. I  was disabused of that idea because they showed up on the thermal sensors the spirit chasers were using.

It turns out that Flora came back to the house after her mother’s acquittal, to stay with Priscilla. One of the few truly emotional moments is Lee’s reunion with her daughter, and her utter dedication in protecting her daughter, no matter what. Lee, the ultimate survivor, sacrifices her life to keep her daughter from killing herself, so she can stay behind and protect Priscilla, in Flora’s stead, from The Butcher.

Image result for american horror story finale/spirit chasers

As the house finally burns to the ground, Flora sees the ghosts of her mother, and Priscilla, waving goodbye to her. Lee, as she has stated so many times this season, would indeed do anything for her daughter.

Now, I have read a rather shitty review which focused the episode on Sarah Paulson’s character and I was greatly offended by the writer’s complete inability to give Lee her due as the actual star of this season, instead of focusing their review on a White character from a previous season, who only shows up in the last episode of this one. This season wasn’t about Lana Winters, as her story has already been told, and I didn’t appreciate seeing Lee being reasoned out of her own story. I can see the parallels from Lana’s story to Lee’s, but that’s no excuse to remove Lee’s adaptability, determination, fortitude, and search for love and redemption, via her daughter, as the primary focus of this season.

 

I’m not saying Lee wasn’t a problematic character, but that’s why I liked her. One of my biggest complaints about TV and movies (among many, many, many, complaints) is the lack of unlikable women. She’s the kind of woman who is hard to like, because she’s complicated, and I like  that her complications make sense, and are consistent. She’s not just given random unlikable character traits to make you hate her.  Quite frankly, none of the white people on the show came across as people I would like to get to know. But I’d be friends with Lee, if I could. She seems like the kind of person that, once she lets you in that zone, you’re in there forever. When Lee loves people, she loves them wholly and completely, the way she does Flora. But if you wrong her, or betray her trust, you will soon be experiencing fine dining in Hell.

Image result for my roanoke nightmare house

 

The final scenes of the actual show (and not a show within a show) is a shot of The Butcher, the Blood Moon, and all the police, and emergency service personnel, gathered in the valley below, and completely at The Butcher’s mercy.

Yeah, that’s not gonna end well.

But we knew that when the season began.

Overall, I really liked this season. This is coming from someone who generally hates the overwrought dramedy of Reality TV. I think the seasons have gotten  better and better over time. I enjoyed Freaks and Hotel, but those seasons suffered from a great deal of incoherence, and lack of focus, towards the end, with subplots being introduced that never got follow through. This season remained taut, focused, and nuanced, with a clear thematic goal of parodying Reality TV. I haven’t had this much fun with that sort of mockery since that Cops parody of the X-Files, titled appropriately enough, X-Cops.

And before I go, I have to give a shout out to Adina Porter. The first time I saw her she was playing a witch-con-woman on True Blood, as Tara’s broken, abusive mother. I loved her acting then, and she brings that same sense  of steely fragility to her role as Lee,  although I didn’t immediately make the connection when I saw her. Its funny how she keeps playing these broken widows, desperately  trying to win back their daughter’s love, and she has mastered it. She is an incredible actress that I hope to see even more of after this.

Well, ta-ta til next season, people! I hope you enjoyed this one. Let me know in the comments.

You Are Not Alone: Link Roundup

I don’t normally get political  on this blog, at least not political in the Political sense, but I’m making an exception today because some of these posts gave me a petty happy and hey, I’m feeling kinda bitter, and petty is where am at right now.

https://btx3.wordpress.com/2016/11/09/anti-chumph-election-protests-expand-across-nation/

https://btx3.wordpress.com/2016/11/10/charles-blow-unloads-on-trumpazoid-dont-try-to-force-me-to-fall-in-line-behind-an-unrepentant-bigot/

https://btx3.wordpress.com/2016/11/10/national-security-experts-wont-work-for-putins-bitch/

https://btx3.wordpress.com/2016/11/09/van-jones-sums-it-up/

https://btx3.wordpress.com/2016/11/09/it-starts/

https://www.good.is/articles/moore-five-point-plan

 

White house staff watching Obama welcome Donald Trump as president.

sixpenceee:
“ White house staff watching Obama welcome Donald Trump as president.
”
Damn! They’re not even trying to look happy.

 

And some general sentiments I thought that just made me laugh:

 

 

And last but not least:

spoonmeb:
“ magicinhermadness:
“ This is all the positivity I can muster right now
”
This is pretty much what my mom just said to me.
”

 

The Walking Dead Season 7: The Cell

Normally, I’d review this episode myself, but it’s the night before the election, I just got through a harrowingly emotional episode of Westworld, and I’m not in the best frame of mind. I know my emotional capacity and I’m just not ready to watch  Daryl, one of my favorite characters, be tortured for an hour. My brain is tired. Nope! I’m not ready for it.

But, I came across this excellent review, at Supernatural Sisters. I couldn’t reblogged the post but I can steer you in their direction. The owners of this site are Af-Am women with an acute interest in all things Horror. It’s rare to find Black women who are interested in horror, so naturally, I fell in love.

They also do some top notch Supernatural, Game of Thrones, and Teen Wolf reviews, book recommendations, and posts on Horror mythology and cryptozoology . It’s great! Check it out!

Here’s Sunday’s review of The Walking Dead:

The Walking Dead S07E03 Review: The Cell

Westworld Analysis: Dolores and Maeve

Westworld is a feminist narrative hiding in plain sight. The Westworld’s logo/sculpture, based on Da Vinci’s Vitruvian/Ideal Man drawing, is actually the body of a woman, and the primary protagonists/antagonists are women,  Dolores, who has had everyone’s attention for five episodes, and Maeve who’s awakening has hidden just below everyone’s radar. Dolores’ path to enlightenment is flashier and more upfront, but I believe it’s Maeve who will spark the true robot rebellion. It’s not an accident that these two women, one Black, one White, were chosen to be the pov of the robot rebellion of Westworld, where its primary setting is a time period in which women  were limited to only two roles, the Whore, or the Virgin.

The Madonna-Whore complex has been baked into Western society since Judeo-Christianity rose to prominence. Named by Sigmund Freud, the complex stuffs women into two mutually exclusive boxes: women men respect and women men want to sleep with. Madonnas are virgins and mothers, kind and submissive. Whores are sexually promiscuous, raunchy and aggressive. The idea infiltrates pop culture in so many ways, from the Final Girls in horror films and Disney Princesses to Betty and Veronica and Taylor Swift music videos. Madonnas are to be lifted up and venerated; whores are to be lusted after and discarded. But Westworld has other ideas. Subversive ideas.

Read more at http://www.hitfix.com/harpy/despite-the-orgies-westworld-has-shockingly-feminist-pthemes#xqEmWuZjfIVwCYQ8.99

Image result for westworld dolores

Earlier this year, I reblogged an article about the show Daredevil, and its ignorant reliance on the Virgin/Whore Dichotomy, within its narrative. Marvel got it wrong because they  obviously did not think it through, and merely presented the stereotypes without any comment on their greater impact to the story. (Marvel isn’t very good at deep thinking in general, and what progressive feminist considerations we’ve gotten are largely because of the actors and directors. It’s certainly not from any of the writers, who seem to emphasize style over substance.)

Westworld gets it right, and the argument can be made that this is the point.  It’s no accident that Dolores is a White, blonde, virginal, damsel in distress, who is meant to be loved and rescued by the hero, Teddy, and that Maeve is a Black woman, treated as disposable, and a saloon whore, who Teddy only flirts with. He makes no promises to save Maeve, or take her away from all this. He is programmed to only have eyes for Dolores. In fact, nothing about these women’s storylines is an accident, and some amount  of actual thought was put into their characters, and plot arcs. I know these are not accidents, not just because of the plotline, but because of the things the characters say, and this is something that will have greater impact on the plot than most viewers think.

Image result for westworld dolores

Before the show aired, there were criticisms aimed at the writers for its depiction of  violence towards women, and the fear that, as in GoT, it is gratuitous. If you’ve been watching, Dolores is regularly threatened and assaulted, not just by the Guests, but the other Hosts as well. Why? So that Teddy can be her hero. The writers of Westworld directly addressed these concerns, saying that the violence wasn’t just for titillation, and the violence we see aimed at Dolores, in particular, serves a plot purpose. We can see that happening, as Dolores has begun to evolve beyond her programming, and in the last episode she said she was no longer going to be a damsel. In other words, her recollection of the violence done against her, has aided in her awakening to consciousness, and the decision to choose her own fate. She is tired of her pain being used to further other people’s stories rather than her own.

Dolores cannot rely on Teddy to save her, as he is a false hero. He is a trap meant to keep her in her loop. In his first encounter with the MIB, he is gunned down, and the MIB goes on to violate her. She cannot depend on Teddy to save her, or take her away from her pain. No matter how much he cherishes her, he cannot free her, echoing the real world equivalent of White women’s journey to liberation.  She abandons Teddy and his false promises, to be with William, and from there, she  begins to come into her power. But only her power, and not her freedom, as it is Bernard who sets her on the path to freedom, by introducing her to the concept of the  maze.

Image result for westworld maeve

For Maeve, the saloon whore, who keeps getting shot in various massacres, the awakening of her consciousness comes in time with her acknowledgment of her disposability. Earlier in the season we hear technicians speculating that if she doesn’t procure more customers she will be decommissioned, which is the writer’s  indirect criticism of the usefulness of the Black body to Whiteness. If it can’t be used, then it must be destroyed. She is saved from this fate  by another marginalized woman, Elsie, a gay woman, who recodes Maeve to be a better whore. Later, just as she is about to be gunned down again with Hector, she proclaims that her death doesn’t matter, but rather than being a rebuke of the statement  Black Lives Matter, as some people have chosen to see it, I see it as a statement of her freedom. If her death doesn’t matter, she is free to do as she pleases, with no fear that death will be the end for her. She is acknowledging that she is eternal, and declaring herself a Queen that can move anywhere on the chessboard, because she cannot die.

Like any slave that realizes they are a slave, Maeve’s  awakening is birthed in blood, nightmares, and trauma, echoing that of real world slave women.   It  is Maeve who witnesses the bodies of her Host brothers amd sisters, stacked like cordwood, being hosed down,  in a place she cannot name, and  it is through witnessing their disposableness that she comes to knowledge of her own. Unlike Dolores, Maeve must find her own path to consciousness and her own allies.

It is telling that the people who aid Maeve are in better positions to  facilitate her liberation than the ones that Dolores has found, and that they are all marginalized people, like her. Elsie is a lesbian, Hector is  Mexican, a Host and a slave like her, who aids her by giving her information on the Native American religion that sparked Maeve’s first questions,  and  Felix is Asian. (Asian men have historically been emasculated and dehumanized by White male patriarchy). So, is the message here that marginalized people can only be liberated by helping each other, or is this a real world comment on how African Americans were aided in their liberation by disenfranchised others? It is interesting that the one person who actively works against Maeve’s, and Felix’s, plans is Sylvester, a White man. I don’t know what to make of the fact that Dolores is aided in her awakening by a Black man, Bernard, who people are theorizing may actually be one of the  Hosts.

http://racism.org/index.php?option=com_content&view=article&id=1277:aawomen01a&catid=72&Itemid=215

Parts of the Virgin/ Whore narrative arose out of slavery and gave birth to the White Madonna, and the Black Jezebel stereotypes.  White female purity was used as an excuse to torture, and kill Black men, and rape black women (although White women who fell through the cracks, and were the unclaimed property of another White man, were also fair game). Since the given understanding was that a whore couldn’t be raped, black women were declared un-rape-able. Like Maeve, their sexuality, and offspring , were treated as consumable commodities.

Echoing the narrative of actual slave women, Maeve has memories of a lost child, that was never actually (i.e. legally) hers. During the  examination, where it’s decided she will be decommissioned, the technicians “up” her aggression levels, making her more “sassy”, which is the writer’s indirect criticism of the stereotype of the Angry Black Woman. It is Elsie who recognizes what the technicians have done and fixes their botched (and indirectly racist) coding.

Ironically, or maybe not so much, Maeve’s name means enchanting or alluring.

Image result for jezebel myth

Its telling that it is a Black woman who says the things she says, just that it is a White woman who declares herself no longer to be the impetus of another man’s storyline. The series creator, Lisa Joy, has some knowledge of intersectional feminism, as these are the very restrictions that Black and White women fight against in the real world. For White women it is being considered helpless, and for Black women, it’s being considered worthless, and  each stereotype is used as an excuse for silencing and violence, against the other, by men.(White women’s fear of being compared and treated like WoC, keeps them from aligning with WoC, on issues pertinent to them both.)  But this particular dichotomy was most directly captured in the Dylan Roof shootings that occurred last year in Charleston, when the protection of White female purity was used as an excuse to enact violence against black female bodies. (The protection of White feminine virtue has always been used as an excuse for Black male disposability, most notably in the case of Emmett Till.)

https://newrepublic.com/article/122110/i-dont-want-be-excuse-racist-violence-charleston

Image result for madonna whore
It is not an  accident that the Virgin/Whore dichotomy between Maeve and Dolores is being set within the allegorical slave narrative of Westworld, as we see Dolores being carefully shepherded by Bernard and William towards her freedom, (on a literal railroad, no less), while Maeve has had to find her own path. But this close attention to her is  the reason why Dolores is unable to move as freely as she wants, while Maeve’s liberation has largely gone completely unnoticed, just as in the real world, where women at the bottom of the socio-economic ladder were able to freely move about in ways that more heavily scrutinized (wealthier) White women could not. Nevertheless, poor women’s ability to move about more freely ( travel, hold down jobs, speak their minds, as long as it was in service to others) was also harnessed to facilitate the imprisonment of White women to the rigid gender roles of marriage and childbirth. (This utilization of poor Black women’s fewer, or different, social constraints, is what gave birth to the Mammy/Sapphire Stereotype.)

I have been at some pains to find articles on this subject online and the only one I could find that came close to approaching this subject, written by a White woman, focuses almost exclusively on Dolores, ignoring Maeve’s part in the greater story. I think after this week’s episode, titled  The Adversary, there will a greater focus on the part Maeve has to play in the story of Westworld’s robot rebellion, and no, it’s also not an accident that the first skirmish in the rebellion would be led by a black woman, who has no fear of death.

*This is one of my most ambitious metas, for any show I’ve reviewed this year, so let me know what you think!

The Walking Dead Season 7: The Well

I’m still a huge fan of The Walking Dead, even though every season the show takes an emotional toll on me. It’s such an emotional drain that I have never re-watched an entire season of this show. I’ve occasionally re-watched an episode or two, but most of the series, I avoid.

Now let’s get something out of the way first. As much as the show is emotionally fatiguing, it’s also incredibly gratifying. I’m going to continue to watch it despite what happened in the last episode, but I fully, and completely, understand those of you who want to check the fuck out. I get it. I’m not Asian. I’m not a guy. But I sympathize and empathize with all of you who had a deep emotional investment in Glen.

I’ll never know what it was like for you to lose him, but I’m a black woman who rarely gets to see herself in the media she consumes, and I do know what it’s like to lose a character you love, cared about, and rooted for (Sleepy Hollow, I’m lookin’ atchu!). I’m not going to stop watching The Walking Dead because there are other characters i still love, and  I’m stannin’ for  Michonne, Carol, Morgan and Daryl. Those, for me, are good reasons  to keep watching.

Image result for twd the well season 7/carol

However, if you feel you can’t watch this show anymore, I want you to know, your reasons for boycotting are entirely valid. Don’t let the rest of the fandom gaslight you into thinking what happened doesn’t mean anything. Glenn was the ONLY Asian representation for six seasons, and that meant something to you. If you started watching this at thirteen, that means you’re a grown man now. You grew up with Glenn. You watched him become a man just as you were becoming one, too. Your feelings, no matter what they are, are completely valid, you don’t have to justify how you feel, and you do whatever you have to do to self-care. If that means getting away from this show, than that’s what you must do, and no one has the right to denigrate you for doing that.

That said, I still had something of a debate with myself on whether I should watch this episode, although I knew I couldn’t stay away from the show forever. I get addicted to shows sometimes and TWD is one of those shows. I dithered right up until, and after it aired. (So I cheated and watched The Talking Dead, the talk show discussing whatever episode just aired. ) I’m glad I didn’t skip this though because I’ve been waiting a long time to see King Ezekiel and Shiva. In the comic books he sounded so ridiculous that I just kind of dismissed him, but he is kinda awesomely funny on this show. And hey, I love tigers! I’m glad they didn’t wait until mid- season to introduce either of these two.

Image result for twd the well

We spend out time this episode finding out what happened to Morgan and Carol. When we last saw them they were being attacked by Walkers after one of Negan’s people tried to kill Carol. Morgan, for the first time since we saw him in season one, shot a man to save her. Ezekiel’s people come riding in on horses, and carrying lances, and swords, to take out the Walkers surrounding them.

While Carol recuperates, Morgan gets a quick tour of Ezekiel’s Kingdom, where the motto is that as one takes from The Well, one gives back to The Well, which means that if you take their hospitality than you must pay it back by being useful to the group. This is not a different philosophy from that which was practiced by the cops in Atlanta, who captured and enslaved Noah, but seems much less coercive when practiced in The Kingdom. Probably because people are free to leave anytime they want. I’d like to know why Carol only ever seems to encounter these new communities  after being injured. She keeps waking up to new faces.

Image result for twd the well

Ezekiel is over the top and dramatic but seems to run his Kingdom very well, although its a like visiting a RenFaire. His people seem happy and productive. They have movie nights, a choir, breakfast and lunch cobbler, and a theater. Meeting Ezekiel the way we did was a lot of fun and a reprieve from the grief of last week. Shiva was awesome, but the stand out character seemed to be Jerry, Ezekiel’s majordomo, a giant Hispanic man, who reminds me heavily of Eugene, and has quickly become a fan favorite. Also I think the idea of having cobbler at every meal is hilarious. Well, what else are going to do with all that damn fruit? But there are some dark undertones in this scenario.

Ezekiel asks Morgan to accompany him on a run,where wild pigs are captured and fed Walkers, so that their stomachs are full of rotten meat, and then they’re given to the Saviors as part of their tithe. Morgan finds himself in the ironic position of defending another man with a gun, but he drops his weapon instead. Zeke tells Morgan he was curious about what Morgan would do,and that the pigs, and his tithes to Negan, are a secret he keeps from his people.

Image result for twd the well season 7/pigs

Impressed by Morgan’s skills with the bo staff, he asks Morgan to teach aikido to one of his young charges, who happens to be inept with knives and arrows, and Morgan goes along with this. He seems to be thinking hard about staying in the Kingdom.

Carol meets Zeke and Shiva for the first time and plays her innocent act, which Ezekiel sees right through, probably because he’s playing a role as well, and so recognizes the same thing when she does it. I thought she was laying on the “oh mys” and “my goshes” a little thick. My favorite moment is when Zeke calls her “fair lady”. Carol thinks he and his people are living in a fairy tale, and finds its all laughably ridiculous. She spends most of the episode pretending to be sweet and innocent, while stealing supplies for her eventual walkout.

Image result for twd the well season 7/carol

But Ezekiel is very observant. He catches her stealing fruit from one of his trees, and confronts her about her act. He asks her to stay, and tells her his backstory, of how people treated him when they saw him with Shiva, and tells her there is a purpose to his act. That it keeps his people sane, and gives them hope. I got some strong romantic vibes from these two. Its obvious that Ezekiel really seems to like her, so I think he does have ulterior motives in asking her to “go but not go”. Which is Zeke speak for “you ain’t gotta stay, but I’d sure hate for you to leave”.

King Ezekiel helps Carol gather supplies, but later he comes to visit her at one of the abandoned homes, where she’s chosen to stay in her self-exile, and brings her the pomegranate  he offered her, when they first met. This is  definitely the beginning of a courtship. I think Zeke is smitten with Carol, and she is  charmed and amused at his antic. His frank conversation with her before she left went a long way towards getting her to like him, I think. It certainly worked on me.

I also want to point out that, as the seasons have progressed, the Walkers have become even more disgusting. Have you noticed? The Walkers are rotting, and not a lot of new ones are really being created, as people have gotten very good at adapting to, and navigating, this environment.

Image result for twd the well

 

ETA:

Oh yeah, that song the choir was singing, during Carol’s tour of he Kingdom, is a Bob Dylan Song called Don’t Think Twice, Its Alright. I love the barbershop quartet version, and now its stuck in my head, (along with the opening piano theme of Westworld.)

 

 

 

 

 

 

 

 

TV and City

Television and New York

The Blerdy Report

Black+Nerdy=Blerdy!!! Black Nerds Unite

Dave Chrisp Comedy

Same Shit, different Dave

The Peanut Gallery

or, a supposedly clever thing I really wish I'd thought of earlier

AfroSapiophile

Intelligent Black Thought.

spokenblackgirl.wordpress.com/

Mental Health & Black Womanhood

UNRAVELING THE KNOT

ALLAN G. JOHNSON'S BLOG

Welcome to HORRORLAND

Horror News, Reviews, Interviews, Art, Trailers, Fashion, Collectibles

Monster Legacy

For Monster Movie Maniacs

Negra With Tumbao

Life Beauty Culture

TheWarner

Your Source for Honest Commentary and Reviews

The Middle Spaces

Comics. Music. Culture.

afros-and-opinions

a blog for the socially conscious

Abagond

500 words a day on whatever I want

%d bloggers like this: