JOHN: my dad forbade me to say anything to my nanna about the top surgery thing, and it's just hit me how funny it would be if i got it done and didn't tell her and just waited for her to notice. i mean, what's she gonna say? "didn't you used to have tits?"
JANE: Don't tell her, then get a pair of fake tits afterwards and have them accidentally fall out during family dinner. Bonus points if you can pair it with some sort of comical noise.
JOHN: thoroughly noted. that's hilarious.
JADE: to be fair you... probably didnt have tits most of your life? "didnt you used to..." "oh yeah we reverted that feature based on user feedback!"
JANE: In fact, when Jake had top surgery, as he was coming out of anesthesia in the recovery room, I dumped two fake boobs out of a paper bag onto his bedside table and said, "The doctor said you can keep these, if you want. Like when you get wisdom teeth pulled." The nurse laughed so hard she cried!
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I have a fondness for moments which show that the closeness of a character relationship is recognised by other characters, so I want to talk about a few of those moments for Eiffel and Minkowski.
They don't tend to be outwardly affectionate with each other (especially not in front of other people, see my ramblings about their reunion in Sécurité), but these little moments show how it's still clear to everyone around them that they are extremely important to each other...
Ep25 Lame-o Superhero Origin Story
This is one of those moments that feels more significant when you take the timeline into account. Lovelace has only known Minkowski and Eiffel for two weeks at this point. But the strength of Eiffel's trust in Minkowski is still evident to her, just from the interactions she's seen, which obviously exclude the secret meetings they've been having behind her back. Lovelace recognises that when Eiffel obeys Minkowski, it's not out of fear or deference to authority, but out of trust.
When searching for a way to convey how it felt to lose her crew, who she later refers to as "the best people I've ever met", Lovelace asks Minkowski to imagine losing Eiffel. She believes that loss would be comparable to Minkowski. (You could argue that Lovelace names Eiffel here simply because he's the only human member of Minkowski's crew who hasn't betrayed her, but I think it's more than that. If Lovelace didn't believe Eiffel to be very important to Minkowski, she could have described a theoretical loved one for Minkowski to imagine losing.)
Ep43 Persuasion
Here Hilbert assumes that to have Minkowski on side is to have Eiffel's support guaranteed. In matters like this, they come as a package deal. (And Lovelace doesn't question this assessment of their dynamic.) Hilbert is both right and wrong here: right to think that Eiffel will get involved in mutiny-planning if Minkowski is, but wrong to assume that Eiffel won't question a plan Minkowski agrees to.
Ep44 Desperate Times
I really love this moment for Eiffel, Minkowski and Hera as a trio, and one of the nice things about it is that it shows Hera being invested in Minkowski & Eiffel's friendship. She knows their relationship is important to them both and her tone here suggests that she sees a softness in their dynamic.
Ep45 Desperate Measures
Here they are being described as 'adorable' again, although with a completely different tone. Kepler says this mockingly, but it's still an acknowledgement that he's noticed the way Eiffel addresses Minkowski and that he knows that it indicates their closeness.
Kepler doesn't believe that Minkowski would allow the station to fall into the star, not because it would result in her own death and the failure of the mission, but because it would result in Eiffel's death. That's where he thinks her line is. (Also I think it's fair to assume that he was going to say "and Hera" if Minkowski hadn't cut him off.)
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A Quote for Janeway
I have a quote of the month pocket planner and I've been imagining that each quote is for a different Star Trek captain. July is Kathryn Janeway (original quote by Ralph Waldo Emerson)-
What lies behind you and what lies in front of you, pales in comparison to what lies inside of you.
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A critique I've heard of season two is that we’ve lost a lot of our symbolic objects, archetypes, and motifs. Season one gave us the lighthouse, the kraken, the red silk and the unicorn, the seagull, the auxiliary closet, Gnossienne no. 5, Pinocchio…
And then I think back to Samba sharing a quote from writer Alex Sherman during the ECCC panel:
“Season one is Stede going from a puppet to a real boy, and season two is Stede becomes a man.”
And that’s it, isn’t it? The transformation from object to subject, from something that has things done to it versus someone with agency. We see that transformation throughout season two. Almost every significant object is discarded, every symbol realized in flesh.
The process starts at the end of season one with the throwing away of all of Stede’s things. So much has been written about Stede’s potential response to that act, and so many folks (myself included) held on to the idea that perhaps Ed kept a little bit, maybe the auxiliary closet. Stede literally no longer cares about those things. He originally brought all the things he loved with him to sea because he didn’t have significant personal relationships. That’s why we hear Gnossienne no. 5 as he goes through the empty cabin pulling out all of the knives. The discordant love motif shows how his priorities have changed, how his love has transformed.
The red silk is gone as well, but instead we have Stede, real and in the flesh wearing the exact same color, clutched in Ed’s hand in the moonlight.
The kraken, a giant monster capable of rending a ship in two? Ed becomes that, literally, disassembling the Revenge to sail her into a storm and destroy her.
The lighthouse? A warning, Ned Low in his silver suit, a beacon in the dark warning Stede of what he will become if he continues on his course.
The unicorn, the destroyed masthead, literally becomes Izzy, a man taken apart and rebuilt piece by piece out of the parts of Stede Bonnet to become a beloved and respected member of the crew, and perhaps one of the strongest examples of self-actualization so far.
The attempts at reversing the process are demonstrated to be ineffective. The catalyst is when Buttons becomes a seagull, which shows Ed that the process of change is possible—that someone can become something or someone else. And he tries, he throws away his leathers, dons Button’s old jacket, tries to become an archetype. Stede tries to become a “real pirate”, despite the warning from Low. Even in Ed’s vision of Stede as a merman, Stede is being reduced to the role of symbol—a mythical being rather than a very real, very flawed man. They are both still trying to be the object when they need to be the subject. They need to take action, to realize themselves. And it’s a gruesome process. Jim’s version of Pinocchio is about the horrific transmogrification from wood into flesh and the horrors that need to be faced in order to make that transition.
We, the audience, are experiencing discomfort in this process. We are being held right up against the lighthouse lamp, and it burns. This is the emotional equivalent of body horror. It feels like all of our beloved belongings are being thrown overboard, but I promise they aren’t.
They are becoming.
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Water the Ship
What you can see here is the watering of the deck of the Götheborg. It is very important to do this because dry wood shrinks and makes your ship leaky. To prevent this, you pump salt water onto it and flush the ship. The salt and water will penetrate into the wood and make it watertight. To quote a crew member of the Götheborg: "You make the whole ship a giant pickle."
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