Pt I wash it down but i've never watched it... and neither have you.
Well, hello there, remember when you guys tried to explain Goncharov to me and I said I wanted to create a fake movie/show? Have it, beautiful maggots. Wash It Down the TV show, mostly accurately explained. Kind of. You know me by now.
Everything is a metaphor, except for the things that are subtext.
The rich blonde girl Carla turns into a deranged psychopath, but in a way that is vaguely inspiring. In the year of our lord and damner 2024, any kind of character development is vaguely inspiring. Especially when it's done by Saoirse Ronan.
Purple hearts this RWRB that, you guys are SLEEPING on Nicholas Galitzine's role in Wash It Down. Which is mostly being disappointingly straight, until he isn't, and inspiringly revolutionary, until he isn't. Dan is honestly just a whole neurotic mess, and we at tumblr do love us a good neurotic mess.
It's a tale as old as time, really. Girl meets boy, girl falls for boy, girl meets girl, boy betrays girl, girl falls for girl, boy falls for girl. Just your average love story.
American cops being shits, just another day on planet earth. The DARE program failing miserably, just another day on planet earth.
Yasmin Finney the gorgeous as Talitha, who is very gay, very angry, and disturbingly obsessed with making paper dolls. Which I'm sure will not come into play later in the s--nvm it's another metaphor for the paper-thin veneer of civilised society in a world on fire with rage.
There is a lot of alcohol. Mostly wine. White wine. Which isn't significant, until it is because it is now also a metaphor.
Inappropriately timed renditions of the Mary Poppins 1964 soundtrack, that are guaranteed to slowly ruin your childhood until the word sugar inspires the inner arsonist in all of us.
First-Twilight-movie-levels of intense blue saturation of, well, everything. It's for the metaphor, guys, I'm sure the filmmakers knew what they were doing.
Carla and Dan are absolute OTP, until they aren't, and Carla and Talitha are absolute OTP, until Carla pulls a gun on Talitha and sings a lullaby to her. I am no longer sure the filmmakers knew what they were doing.
The world is Bad Bad Very Bad. Which I'm sure none of us can relate to.
Love is complicated and unstable, but like, in a shippy way. Mostly.
An oddly specific ring of imagery that becomes so convoluted that it starts to parody itself until the show is a metaphor for the show itself and even Christopher Nolan is raising his glass in reluctant admiration.
Senseless cliffhangers that are an interesting directing choice for sure. Bold, but interesting.
More Mary Poppins. Your childhood is entirely ruined. You become an arsonist.
The paper dolls catch fire. You are now part of the metaphor.
Very cute romance with a lot of attempted murder and societal rebellion thrown in. Hallmark is shaking.
Accurate? Who knows. Not you. Not me. Not anyone... yet.
@queermarzipan @madfangirlontheloose tagged for no suspicious reason.
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Grapple them unto thy soul with hoops of steel
“You let them send you this slop, Sasha? General of the Second Army? You drink it?”
The questions had been asked by the stranger in Aleksander’s private rooms, a tall man with loose dark curls and a beard that rivaled Aleksander’s for panache, a quilted jacket over an open-necked linen shirt Alina recognized as the fashion from Ketterdam at least a dozen years ago. He leaned against the mantle with a wineglass in his hand in a way that would have frankly horrified Ivan and made Fedyor’s eyes take on an admiring gleam, his figure lithe, his pelvis angled in a way that was so far beyond suggestive Alina could not find it provocative, only amusing, which she allowed to show in her face.
“See, your ladylove agrees with me. Wise and winsome and Sasha’s beloved, so she must be powerful and you needn’t demonstrate, tovenares. Unlike Sasha, I can take some things on faith,” the stranger said. “What I can’t take is this pathetic excuse for mulled wine.”
“Do you think you’ll introduce us?” Alina said to Aleksander, who had a rare smile, one that was wry and fond, an expression that made her imagine how he might have been if his long life had not been one of persecution and torment and the need to secure the safety of his people.
“I’ll try—if I can get a word in edgewise, that is,” Aleksander said. The other man shrugged, a chain at his throat glinted with the gesture, the gold disk of a talisman half-hidden by the fold of his collar. “This is Coenraad Gijs Lueck, an old friend from Kerch, playwright at the Eerste Speelhuisje. Alina. Coen, Alina Starkov, Lady Kirigana, the Sun Summoner of Ravka.”
“Lady Kirigana, you honor me,” Coenraad said. “Though you must simply call me Coen, as Sasha does when he is not pretending at some noble formality, as if we never bedded down together in a rat-riddled garret and supped on two day-old maslin we filched from ruddy old Paepke in the market—”
“You stole the rolls, Coen, not I,” Aleksander replied.
“That’s right,” Coen said. “You’re welcome, by the by. You would have starved without me.”
“I must thank you for keeping Sasha alive,” Alina said. “It sounds as though you are old friends and those are precious, especially to someone like Sasha.”
“I gather you understand him well,” Coen said, nodding in approval and assessment.
“Well enough,” Alina answered, inclining her head towards Aleksander. “I have a thorough acquaintance with Dame Baghra.”
“Then you understand everything,” Coen laughed. His eyes were a curious color, between blue and grey, and she saw in them something of Ivan’s protectiveness, Fedyor’s warmth, and some history that was known only to the two men in the room, that had made them closer than comrades, more trusting than brothers. He glanced down at the goblet in his hand and grimaced. “You must also understand he has the most noxious taste in mulled wines, far too sweet, any wines really, and the kitchen here does nothing to rein in his worst appetites. There’s no clove in this, no badian, and far too much honey, though I know Sasha does not believe that is possible.”
“Come now, it’s not that bad,” Aleksander protested. So, he could sound young, piqued by something inconsequential. Coen shot her a look that was the next thing to a wink and Alina gave a little sniff as she were a coquette at the Imperial Court, a friend of Coen’s since she’d been in petticoats and he in short pants.
“It’s like the syrup they give to the otkazat’sya children when they have the winter catarrh,” Alina said. “Coen is right, Sasha, it’s disgusting. Even a little canella would help. A lot of canella would be better and plenty of zingiber.”
“She’s brilliant as well as lovely,” Coen said, the admiration plain in his tone but also a subtle shift in his stance, the way his eyes rested upon her. “Worth a thousand starless nights, a thousand years dark without a moon—”
“Alina’s worth cannot be measured,” Aleksander said, suddenly stern and almost proprietary. She could sense the tension within him, the urgency of his shadows, and the equally swift, lethal stillness that had overtaken Coen. He was Grisha, that was clear, but she thought now he was no Alkemi or Tidemaker as she’d imagined, but rather a Heartrender who’d long eluded the Kerch slave-markets. Was he even from Kerch? She’d never met a Grisha from the Bone Road or the Wandering Isle and wouldn’t have been able to recognize the signs in Coen’s gestures or expressions. There was no need for a battle, not now anyway, not before she understood the stakes.
“I liked hearing it said,” Alina put in. “It sounded like a line from a play.”
“Snotra’s Folly,” Coen said. “It ran for six seasons, made enough for a villa in Scheveningen. Ivan would hate it, it’s vulnerable to attack from the coast until there’s a heavy fog.”
“He does loathe a weak coastal defense,” Aleksander said. “I imagine you have brought all the spices and wine necessary for a properly mulled glass—did you leave them in the kitchens or are they in your trunks in the Doverennyy suite?”
“Kalyna should be bringing in something worth drinking in a few minutes,” Coen said. “I took the liberty—”
“As you ever have done,” Aleksander said.
“As I’ve ever needed to. For your own good,” Coen said. He spoke of events that Alina was not privy to, terrors and torments shared, plans Aleksander had not yet told her of.
“Did you order honey-cakes and cherry mazurek?” Alina asked. “Sasha won’t want to try the wine without something sweet.”
“You could give him a kiss then,” Coen said and grinned. “I did order the pastries. I hadn’t known there would be an alternative for Rijkje.”
*
“I’m glad Coen came to see you. He’s a good friend to you. For you,” Alina said later, lying in Aleksander’s arms, the embroidered bed-curtains closed around them. She’d conjured the light of a single, steady candle-flame to see by as it was the moonless night Coen had mentioned. She could still taste the mulled wine, its exquisite blend of spices and spirit, and the brief bliss of honey and marchpane on Aleksander’s lips after he took the last bite of dessert. Coen had demurred, averring he preferred savory, and cried off for an early night, the strain of his travel having caught up with him.
“He’s a better spy,” Aleksander said, stroking her loose hair, grazing her temple and the apple of her cheek.
“Is there any difference for you?” Alina said. “He called you Rijkje—he knew you as Eryk, didn’t he?”
“He did. He does,” Aleksander said. “He trusts you, milaya.”
“And do you trust him?” she said. He took her closer into his embrace, bent his head so he could murmur in her ear.
“As far as I may,” he said. “He isn’t you, so I cannot trust him completely.”
Because when I first reblogged Tim Curry as Shakespeare, I said I headcanoned him as Aleksander Morozova’s best friend from Kerch and @orlissa said “write it.”
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