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It’s not a fully fleshed out thought but I’ve grasped it now and so here’s what I’ve got dangling…

It’s so interesting to me that of the many issues and annoyances I have with Rory’s character her decisions around Yale are so tied to men.

Though the show we have a general sense that Rory (and by extension Loralai who raised her) have a distain or disappointment when women make choices due to men. Mainly when these choices are not mainly or solely things that a woman wants, and take another persons (usually a man’s) wants into account we see Rory scoff or roll her eyes or frown intensely and question it. When someone else makes a decision due to a man they want to like them or respect them, Rory seems to like and respect them less (at least in that moment).

But when a man, one who’s good opinion and respect SHE wants, says something hard and hurtful Rory abandons everything she (and by extension he mother) have worked for since she was a child. At the very least she gives up the main goal that’s dominated the last 3 years of her life. A man doesn’t think she’s good enough, so she gives up trying.

And though everyone tries to understand and support her, to change her mind and make her want to go back to Yale and to reignite her goals for her future, it is once again a man (who Rory wants to respect her and have a good opinion of her) who says a hard and hurtful thing which makes her go back to Yale.

And in the middle of all of that it’s another man (her grandfather) who has so much influence on her ‘choices’. Firstly in his support of her leaving, and in his 180 in the face of the reality of her life Rory’s grandfathers support plays a huge role in her confidence in her decisions and path.

I just find it fascinating that the writers chose to remove so much of Rory’s agency in these ‘choices’. They don’t write that Rory struggles at college, having reached the pinnacle she was working for and realising it isn’t as fulfilling as she had hoped; that she struggles (like she first did at Chiltern) now she is among other gifted people and she is once again less exceptional; that the courses she takes feel uninteresting and she languishes without drive or a purpose.

No they choose to write her story as a man says something mean and so she runs away.

And again, they don’t write her return to Yale as Rory being revitalised by her time away and once again motivated to aim higher; they don’t have her realise that she does thrive surrounded by other intellectuals and though it’s tough she CAN rise to the challenge like she did before; they don’t have her realise her dream career or degree is actually different than she thought so she goes back and changes major or her classes.

No once again, the writers have a man say something mean and so she runs away. Only this time she runs away back to where she was before.

So in the face of disappointment or dislike, at least from men she wants to like her, the only ‘choice’ Rory is allowed to make is to run.

Just attended a public lecture on some of the dangers and concerns with OpenAI (ready to be informed!) and the two men on the panel were introduced as First Name- Last Name- Job while the two women were not given the courtesy of a profession, and instead were minimised and miss-introduced.

‘This is Joe Blogs who is a lecturer and teacher’ vs ‘this is Jane, a sociologist’

‘This is John Doe, a reporter who’s written several books’ vs ‘ this is Betty and she is .. a social media… expert?’ I’m a social psychologist’

So if I wanted to follow up afterwards or thought one of them made good points I should Google ‘Jane Sociologist’ and pray the one I want is there?? Nice way to show which people you think we should know more about…

My god, at least give your panelist’s the FACADE of equal consideration and attention.

As I’m fascinated by What Ifs and alternate scenarios, and I’m going over back how I felt about Dex and Sylvie, I would LOVE someone to explore an alternate version of their lives.

(I also have a soft spot for rare-pairs, or in defiance of ‘the big destined love’. Every now and again. For balance and literary roughage.)

———————-

Across Dex’s life there’s reinforced messaging that Dexter doesn’t know what he wants, that he lacks purpose and drive and care, and this frustration only adds to lots of his other struggles.

But there is one thing we’re told Dexter once cared about: at some point in his childhood Dexter *loved* photography.

His mum mentions it when they get lunch, and thought we realise later that she was dealing with lots behind the scenes then, her remembrance of this hobby and her retelling of it then are actually quite hurtful and ham fisted. She (in a loving way) disparages this hobby, implying that Dexter wasn’t very good at it, and that this obsession confused his parents who (by the sounds of it) didn’t support or nurture this love.

And that would be interesting enough, coming in the same conversation that she bemoans Dexters lack of purpose and worries that it will cause him unhappiness in his life. But Dexter’s reaction to this memory is fascinating.

Its startling to see him so uncomfortable. He seems genuinely hurt and confused by this summation of his hobby; whether this is in response to the general sense that his mum didn’t think he was very good, or specifically that it was directed at his fascination with photography we can’t know for sure. But it gives an impression that there *was* once something that Dexter loved to do, or was fascinated by, and it was disparaged by his parents who didn’t support his interest and now he is seen as generally lacking any purpose or anything he’s interested in.

However you look at it it’s an interesting juxtaposition within one conversation. (I also kind of wonder if other interests were also treated this way, and so Dexters lack of care or interest is partially a learned behaviour…but I digress)

We get a call back to this photography again much later in the series, when the camera focuses on several taped up photos of gravel on his childhood bedroom wall. Again whatever the intention of this, it does remind us as the audience of Dex’s previous hobby that was important enough to him that he still keeps mementoes of them on the wall.

And though Dexter struggles massively with purpose and direction, we see in his last years with Emma that with the right support (and probably following on from a period where he reached the right level of desperation to swallow his pride and self motivate) he can choose a direction and job that he enjoys.

So I kind of love to wonder what other way his life could have gone.

What if, for whatever reason, Dex and Sylvie don’t go to Tilly’s wedding? Whatever the reason, probably combined with Dex both wanting to see Em again but also being slightly terrified of it, they can’t make it.

So Dex and Em don’t get their emotional reconciliation scene; they still likely make up and become friends again (Sylvie is still preganant, they’re still getting married, Dex will likely still invite Em and Tilly at least) but without them having that time and privacy at Tilly’s wedding to lay out all their cards…. are they *as* close afterwards as they could have been?

Does a Dex who hasn’t fully regained that romantically-tinged friendship with Emma (they shared a quick kiss minutes after he shared he was engaged and about to be a father!) then turn to Sylvie more than he did in the series? With Emma back as a good friend but not kind of a flirty-friend does Dexter emotionally commit a bit more to Sylvie and their marriage?

As they don’t re-meet Callum at Tilly’s wedding I think it’s unlikely he’s invited to theirs, hence Dex probably doesn’t get an offer to work for him.

So a Dex who is still professionally unfulfilled, looking for job options and a change, right when everything else in his life is also changing (marriage, fatherhood)… does this Dex now have a similar level of desperation/motivation as the one who we saw in Paris? Could this Dex also find the motivation to retrain in a new field, but not as a chef (as he hasn’t worked in a cafe) but instead…. as a photographer?

There was *something* there that drew his attention and held it as a kid, something which a appealed to him and made him proud of his little foray into that world. And when people are struggling with purpose and direction, don’t they say go back to what you once liked?

A Dexter who rediscovers this childhood love, now with the focus and need of an adult to try something new: that would be interesting. Also I think Sylvie is a model (?) in the book, so if that’s the case she probably has contacts or friends to help her new husband learn the ropes. It might even help their relationship to have her able to help him work on that passion, and for him to have something he is definitively working towards: both for them and also to reassure her family.

Plus if they don’t meet Callum at Tilly’s wedding, who then doesn’t offer Dex a job, Sylvie won’t be having an affair with him. In addition being with a Dexter who is slightly more emotionally attached to Sylvie, with a new career to focus on, and who hopefully feels less impotent might mean Sylvie doesn’t feel the need to cheat at all?

Do I ultimately think they would stay together? Probably not. They do appear to have differences in personality which would mean they aren’t the best of bedfellows. Dex’s sense of humor is shown to grate when Sylvie needs reassurance, and Sylvies inability to relax comes across to Dexter to be a lack of trust or belief in his competency. I don’t think different circumstances would have magically ‘fixed’ these differences in attitude and personality.

But I do think they could have ended better, and had a nicer and more interesting middle-period, before they went their separate ways.

But a Dexter who got to explore that tiny bit of passion and interest we’re told he once had? That would have been a fun version of him to get to see. And the poetic irony of Dexter finding purpose in the field his mother once disparaged, who found that interest and passion she worried he lacked in something she dismissed and mocked, would have been so narratively satisfying and well tied off!

Dexter is a cautionary tale of the need to accept discomfort as a part of life, with Emma as his contrast and aspirational example.

Throughout the show Emma embodies determination and self assurance. The only reason she thinks she can change the world is.. because why couldn’t she? In contrast Dexter has no idea what he wants and kind of resents having to even think about it, hence his jumping between careers and looking for purpose for the whole show.

While Em knows what she wants emotionally (the satisfaction or having made a difference, the achievement of doing what she always wanted) but isn’t sure on the specifics of what that will look like (I’ll write plays, no write poetry, no I’ll teach, okay no I’ll write a book), Dexter knows the specifics (I’ll be rich and famous) but doesn’t know what he wants emotionally (‘what will that look like?’ ‘I don’t know’).

While Dex is always running from uncomfortable feelings Em faces then head on and comes out the other side, able to learn from them.

As Dex is travelling to put off making long term decisions, Em has taken the first opportunity to do what she wants: writing, be it books, poems or in this instance plays.

On holiday Dex can’t allow himself to admit that he fancy’s Em and to leave it at that, he has to run from the honesty and vulnerability of that moment by adding on ‘but I pretty much fancy everyone’. In doing this you could argue that he looses his chance with her for several years, where as Emma’s confidence could have resulted in them getting together much sooner.

Dex misses his mothers last birthday because he doesn’t want to face reality. Instead of reacting to the fear and anger and pain of her diagnosis by spending every moment he can with her, or sitting down to have heart to heart talks with her, or helping her out in any meaningful way Dex runs away and numbs himself with substances, and is passed out for the little time he is in her presence.

When he’s nervous people won’t (or already don’t) like him on TV he again turns to substances to numb his feelings, and (instead of taking Em’s advice to ignore them) looks for reassurance from hangers on who don’t actually know him that well. He can’t sit in that worry/fear/discomfort so he finds a way to stop feeling.

When Dex’s marriage falls apart we see him running away to Paris to visit Em. And sure there are ulterior motives here (his hope and assuming that this could be the start of their romantic relationship) but the writer shows him literally traveling away from the country where his failed marriage, child and previous life were as he is show to be angrily talking about his divorce. As an image it appears like he’s running away from the reality of the divorce or running to Em for a distraction. It definitely supports Ems assumptions that he’s not serious about a relationship with her; she’s seen this behaviour in Dex before.

It’s even funny how in small ways we don’t see him handle upsetting things until the very end. Talking about his first marriage and the production the day became? Dex admits he didn’t want to rock the boat so he didn’t fight anything/reject anything/ have much say at all in his wedding. Sylvie drops off Jasmine? Dex is still at the cafe so Em is the one managing slightly awkward small talk. Jasmine practising her violin? We get a brief moment with Dex too but mainly it’s Em sitting through the recitals. In that last episode when they’re struggling with fertility, Em is the one who sits down and talks out her anger and fear and worry, where as Dex (who probably knew what the root of it all was) was happy to leave her to process it how she need to and support her while she did. If she hadn’t brought it up he wouldn’t have said anything.

That’s not becisarily a bad thing (Dex could have known that Em needed to process it herself before talking to him) but it is interesting that the writers engineer Dex to avoid all these moments of emotional discomfort. It reinforces his characterisation of being avoidant when confronted with conflict.

In contrast we kind of constantly see Em having to face hard moments and working through them.

Don’t know what to do with your life? Move to London to try and aim to work in your dream field. London life and restaurant job not going the way you planned? Commit to Dex’s suggestion of teacher training. Time to confess a secret? Here’s a hugely personal one about my past feelings for you. Past crush admits he kind-if fancy’s you? Stick to being honest about your past feelings and don’t take the opening to downplay them. You feel shit about your life and your secret affair? Well let’s turn that into motivation to finally write that book.

Not happy with your long term partner? End the relationship.

Emma’s whole confrontation with Ian is a masterclass in facing difficult conversations and emotions, being vulnerable and open and honest about your feelings, and finding empathy for another outside your point of view. And look what she gains from facing that hard in comfortable conversation? Closure, and a kind of friendship, one that lasts even after she dies.

When Dex confessed that he hoped they would start a romantic relationship in Paris, Em sits him down and starts that hard conversation about how she doesn’t think that is 1) what he even wants and 2) would work between them. She doesn’t brush off of hide from the conversation. And then when she has more information and time to think she commits to Dex.

Even after they sleep together there’s a scene of Em laying the ground rules, making it clear to Dex what she will and won’t stand in this relationship. That’s an awkward conversation to have but Em doesn’t hesitate and makes sure he knows from the get go what she expects and deserves. The writers are constantly showing us ‘Em doesn’t run from uncomfortable feelings’.

And then the tragic twist of fate: Emma is gone and Dexter finally has to learn to live with emotional discomfort. He can’t keep running because there is no escaping this, not like he did with his mum. Like he says to Imaginary-Emma ‘why would time change anything’. He is going to feel like this forever, there is no escaping it. Finally he is learning to face it, manage it, and work through it.

Of course Emma is far more than a literally device and is her own layered and well established character. But in this regard for Dex it’s almost as if she’s the final lesson for him to work through to grow up enough so he can eventually choose to return to the place they met.

And it could even come across as a reward for him; in learning to live with those difficult emotions, his reward is being able to remember Emma fondly, and to return to the place they met to seek out those memories. The memories are bittersweet, but now he remembers Emma as she was and not how she never got to be.

Like his dad said, he is eventually able to ‘live [his] life as if she were still here’ but in order to do that he first had to accept that she was gone.

*One Day Netflix Spoilers*

You can interpret it however works for you, and I don’t know how it played out in the book, but I loved the scene where Em and Dex got together.

Because Emma *chose* Dexter. When she didn’t have to, when she had other options, knowing all of his baggage, and knowing that they would probably be able to stay friends if she didn’t. And she still chose to start something romantic with him.

Emma was at the highest point of her success: a published author, signed for a second book, sent to live abroad in an exciting new city. And she’d started seeing someone who (from the little we see) is kind, charming, and cares for her. Emma is winning in every sense!

And she initially rejects Dexter. Her reasons make sense; she doesn’t feel he truly *wants* to be with her, just that she’s there and he’s lonely. She is sure of herself and her place in the world, and turns down the man she used to crush on because she wants it to be real. When given this opportunity were not shown a knee jerk, desperate, ‘oh my god, finally, yes!’ moment when he says he wants to be with her. She was NOT waiting on this, and she’s not PINING for him. It actually shows huge strength that when the man she used to like finally wants to be with her, she has the inner strength to say no and stick to what she deserves; a proper relationship with someone who truly wants her, not a placeholder.

Dexter lays his heart on the line, leaves himself competent venerable, and Em says no.

You could interpret Em coming back as unsatisfactory: a woman in her prime, going back to the man she’s been pining over most of her adult life. But it can also be seen as an empowering moment.

Emma knows all of Dexters issues and chooses him anyway. Dexter has literally just laid out his current headspace and issues, and it’s clear she was supporting him as the divorce was announced and agreed upon. And previous episodes show they’ve been close throughout Dexters marriage and fatherhood, with Em stopping in at his job and answering his late night calls. She’s been his best friend again for several years and knows his struggles, so she is going in to any romantic relationship with her eyes open.

Reducing Emma’s choice to being a silly or naive one I think misses huge parts of who she is, things which are key to her characterisation. Throughout the series she’s shown as intelligent, savvy, switched on and determined. Even when she’s unhappy or trying different things, she is sure in her conviction to do *something*. When she’s unhappy at the restaurant and Dex suggests teaching she makes a career change and trains. When she’s at her lowest (post headteacher affair and loosing Dex) she turns rock bottom into a spring board and tries once again to write her novel.

Emma is the embodiment of conviction. Whether it’s knowing what she wants or just knowing what she doesn’t, she is decisive and commits to her path. She’s the perfect foil for Dex who’s lesson across the series is to stop running from difficult feelings, and learn to process unpleasant emotions.

So she didn’t choose Dexter on a whim, and I love that they showed that. Em leaves Dex, turns him down, and goes to dinner with her lover in the city she’s loving living in, while doing the job she always wanted.

And she could have left it like that and they would have likely remaking friends. They did after that kiss at Tilly’s wedding, and after they slept together. So she has nothing to loose by rejecting him.

But Emma *chooses* Dex. She knows herself and what she wants, she knows who she is and what she is now capable of. What she wants, if it’s on the table, is to be with Dexter. So she commits to it.

They could have made her jump at the option to be with Dex. The writer could have had them get together when Dex was at the height of his fame or Em at the lowest point of her life. And either of those could have easily had a sense of fear on Em’s part: to be equal to Dex, to be good enough for him (in her head), to finally make it. But doing it this way gives her all the power, all the agency. And I *love* that.

From comments later it’s clear their relationship was good, they do work well together and they make one another happy. We’ll never know how Emma’s life could have gone if she stayed with Jean-Pierre. But the life she chose with Dex *was* happy. As Ian said ‘[Dex] made her so so happy’: wether you think she could have done better or deserved more, a life with someone who makes you happy… isn’t an insignificant thing.

We’ll never know if it was *the right* choice to be with Dex. But seeing how happy she was it’s clear it was a *good* choice. And that’s all we can ever hope for.

*spoilers for One Day*

For people saying ‘it’s tragic, Dex and Em only got 3 years together’ no. They got 15 years together.

Glossing over the span of their life together to sum it up as ‘only 3 years together’ misses all the love and time they had together that wasn’t solely romantic.

Why is their relationship only ‘important’ or ‘counts’ when it’s a romantic one? Maybe there was always romantic love buried in there or growing steadily but there was a whole lot of platonic love there too.

For 15 years they were the most important person in the world to one another, they described each other as their ‘best friend’ and the person they reached out to at every high and low moment. And for the last 3 of those years they were also a couple.

There are loads of examples of Dex reaching out to Em when he’s at his lowest: the last birthday with his mum, then he’s reeling from his divorce, when he’s scared people will hate him on TV. And you *could* read that as pathetic and Em being his emotional crutch, with Dex latching into her. But you could *also* see that as when you’re struggling and low, you just want your best friend. Because they *get* you. And part of being a best friend is being there in those low moments.

And Em has done the same with Dex, just in different ways. That first year out of uni Em had no idea what she was doing; in a job she couldn’t wait to leave, a relationship that didn’t make her happy, not sure where she was going in life or what she was doing. Em writes to Dex often, and doesn’t need him to reply to her, just to read her letters and be *her* emotional crutch and person to vent to.

Even at that breakup-dinner, Em has things she ‘needs to talk about’ and she’s reached out to Dex to do it. We don’t see her discussing it with Tilly, we see her trying to talk about it with Dex. She’s at arguably her lowest moment (hates her job, hates her partner, hates her home) and she wants her best friend to listen to her. Just like he did when she was 24 and thinking about giving up and leaving London, and Dex convinced her to stay and keep going.

So they are emotional crutches *to one another*. That’s also part of being someone’s best friend.

And for all the low moments Dex also wanted to share his best moments with her too: when he’s excited about the TV pilot he calls Em to say ‘the only person I want to share this with is you’, and begs Em to find a way to be there. Yes this is also him dismissing and ignoring her achievements, yes this is self absorbed and rude and at the height of his egomania, but in that moment of triumph he only wants his best friend there with him.

When they see one another again at Tilly’s wedding Em is brave and self assured when she reveals she’s ‘thought of you every day, missed you every day’, and that even though they are friends again now the fact that Dex will have a wife and child ‘feels a bit like loosing you all over again. Because people with families have different priorities…’ That’s how close they were before.

The sentiment that ‘we grew up together’ is really true, for the both of them. They were very different people throughout their lives, and if they had tried to be a romantic couple earlier there is no guarantee that version of them would have lasted the course.

Would Emma have stayed with a peak-of-his-tv-fame Dex, partying and living life ‘to the full’? Or would they have explosively ended and decided they were too different for one another for it to ever work?

Would Dex have even tried for a career in TV or a full year of travelling if he’d become a couple with Emma after Uni? Or would he have done something else but grown resentful of what-could-have-been?

If they had sorted out their issues and apologised after their fight and Em had left Ian, would Em have found the strength to turn rock bottom into a spring board and finally write her book? Would she have even hit that bottom at all? Or would the hook have remained a pipe dream while she continued as a teacher, happy with Dex but professionally unfulfilled?

We will never know what could have been, and that doesn’t necessarily make those alternatives the ‘better’ option that they ‘missed out on’.

Maybe they would only ever have had 3 years together as a couple and getting it in their mid 30’s the way they did was their most mature and peaceful version.

So yes at times their relationship feels like it’s moving toward the inevitable conclusion of a romantic partnership. But the time before they get there wasn’t wasted or unimportant or unnecessary. And they were always together.

Those executives at Netflix BETTER be talking to one another ‘cause if the Head of RomCom (or whatever) who oversaw One Day isnt pitching this for another adaption to the Head of Original Kdrama’s….

Like the LONGING. The SLOW BURN. The CLASS DIVIDE.

I haven’t read the book and only have vague recolections of the movie (though I remember sobbing violently at several points) but I hoped I’d love Netflix’s One Day adaption. And of course I did but one of the things I loved was so unexpected.

I love how they portrayed Sylvie.

Particularly how that relationship both ended and endured. How even at the start there were issues but the small kind you want to work on and work through. She knew her family were hard work but she was on Dex’s side and wanted him to be accepted: but still knew that her opinion was the one that mattered. Dex knew he didn’t fit it but he was trying so damn hard to, and hoped that if he kept trying it would be enough eventually. And she wasn’t this demon or harpy, even people who just met her liked her. She was a nice person.

So many times when the male lead is with another woman before they eventually get together with the female lead this ‘other woman’ is portrayed as toxic, unmanageable, cruel, snobbish, etc… or even just unpleasant to be around; someone we’re happy for the male lead to leave. Maybe it helps us to support the male leads pursuit of the female lead and not confront his poor behaviour as a romantic partner if that ‘other woman’ is unlikable and we’re happy to see her gone?

But here they made it clear: Sylvie is a kind nice woman who loves Dex, and didn’t handle the crumbling of their marriage well.

It was almost voyeuristic how we saw the breakdown of her and Dex’s marriage. It seemed so bloody real. New baby, no sleep, renovating the house, all of it building up until you’re being a bitch and you know you are, and you’re apologising after the fact for what you said but you don’t know how to talk around the fact that you still meant some of the things you said. And a partner who you know is struggling with direction and purpose, and you want them to do well, but *god* you’re the one fielding questions and having to go to bat for them every time someone asks, and as a result you never feel safe to take a break or question them yourself.

And (I don’t know how intentional this was) but Dex’s joking tone which is clearly meant to relax and reassure just came across as him not taking things seriously or being trustworthy. Sylvie lists a whole range of food options for Jasmine while she’s out for the night, clearly showing she has prepped *everything* ahead of time: she isn’t leaving Dex in charge of finding or cooking Jasmine dinner, she’s leading him by the hand to the ready made stuff and telling him now to reheat it. Kind of like he’s a child too. It really shows how capable she feels he is.

And then Dex jokes about giving Jasmine crisps. He’s clearly trying to break the tense atmosphere and joke around with his wife, but it just comes across as ‘I wasn’t listening to you, I don’t realise how much work you’ve done, you were right not to trust me to cook dinner because look what I immediately suggested, you can’t rely on me’.

In all their conversations the tone of their voices just show they’re not sure how to talk to one another anymore, that they know everything they say will be taken the wrong way and so they have no idea how to speak.

It felt like no one was particularly demonised or made into a caricature. Just two people who were different, put under stress until they broke and grew apart. And Sylvie had been responding to this state of her marriage by having an affair, so she is clearly in the wrong there and the one who causes the divorce etc, but… I don’t know; here it comes across more as a plea for help or freedom in the midst of her confusion and less a lack of care or thought for Dex and her daughter (like I remember it coming across in the movies).

Even when they have the brief mention of dramatics and anger around the divorce, afterwards she’s back in the picture as a level headed co-parent: joking around to relate to Emma, sharing co-parenting pains with HER too (‘Jasmin’s learning the violin?’ ‘Yes that’s why we’re fleeing the country’). And genuinely congratulating them in their relationship and marriage.

You don’t see many ex-wives in media who are so openly concerned about how their ex-husband is handling his second wife’s death. She’s present, caring and supportive. And keeps reaching out to him well after she could be forgiven for stepping back.

So yeah I loved all of One Day and yeah it made me cry AGAIN, but I also loved how real they made those significant relationships look. How adult and complicated and messy and ‘no one was a monster/you were both wrong in different ways/there is no right and wrong’ they played out as.

Just because she wasn’t the ‘love of his life’ doesn’t mean she was a footnote either.

This is for the dirt stained beauty queen sleepers made of resilience and dollar store glitter. ~

~ ….the girls applying eye shadow in the reflections of the storefront windows, unfazed by every person who walks past and dares to roll their eyes. there is something holy about girls so dedicated to melody that they give up their basic needs for it. ~

~…holding hands with one another, screaming the words to a song that saved their life or makes them happy or maybe just reminds them of how beautiful it is to be alive….~

~ … how absolutely wonderful it is to sing in a crowd that knows every key change by heart. the girls that have only ever been a part of something bigger than themselves. ~

~…the girls that wave pride flags and kiss their partners and hand out hair ties like they’re compliments.~

~the girls that trade water with strangers, lips to lips to lips, trusting that everyone here is safe because they are, they have to be, how else would they have gotten through the door?~

~this is for the girls who look discomfort in the face until it backs away in shame.~

- ODE FOR THE GIRLS THAT CAMP OUT FOR CONCERTS. - Caitlin Conlon

Argh the hypocrisy, misogyny and wilful misunderstanding around women as fans is so infuriating!

Matt Rife wants to ‘assure’ people that he doesn’t ‘cater to women’ in his new comedy special. If so that is a fucking *stupid* decision.

Because if you’re an artist then a largely female fan base is a great marker for success.

Some of the most successful global artists right now? Taylor Swift. BTS (and K-pop to a greater extent). Harry Styles. Beyoncé.

The majority of their fanbase? Female.

IMPORTANT: I’m NOT saying men don’t love/support/consume these artists, or that they shouldn’t. Huge numbers of men love and support these artists, and they should continue to do so. I’m stating that the majority of these fanbases are made up of women.

And women show up for you as an artist, on every metric which currently tracks ‘success’. They stream your songs/interviews/skits; they buy your album/record/dvd; they fight over tickets and pay astronomical fees to see you live; they tune into your award shows/guest stars; they watch your movies/documentaries; they post about you and your activities; and they go to bat for you in arenas you aren’t even aware of.

The colleague at work who heard a BTS song on the radio? Oh yeah, it can be intimidating if you don’t know who they are, here let me help you understand more and show you their best attributes and why you might like to learn more.

The family member who doesn’t ‘get’ why this singer is all over their TV? No worries, let me explain their songs and why they resonate, how they connect with their fans and why they’re incredibly talented.

And when ‘real’ artists are brought up to compare them against, not only do they pick an artist who’s peak years were decades ago, they try to rewrite history.

‘Yeah they might be successful but they’re not the Beatles!’ Okay so you see the Beatles as legitimate, successful, global artists with talent. Shall we look at Beatle Mania? A huge part of their success was the women who supported them, who bought their records, showed up to their performances, who funded their financial success and drove their pop culture relevance.

‘Yes they’re a good singer but they’re not Elvis!’. Oh are you referring to ‘The Hips’ who’s gyrating style of dancing ‘drove women wild’? Who’s success in music meant he was *able* to make movies and tour the country. The women who consumed his music, came to his shows, followed his personal life in the news, who watched his movies - they’re the ones who financed his life. Guys wanted to be Elvis, to dress like him, because women loved him.

Why is having a majority female audience seen to delegitimise you as an artist? When they are the ones who got you to where you are now, why are they suddenly not good enough?

Argh the hypocrisy, misogyny and wilful misunderstanding around women as fans is so infuriating!

Matt Rife wants to ‘assure’ people that he doesn’t ‘cater to women’ in his new comedy special. If so that is a fucking *stupid* decision.

Because if you’re an artist then a largely female fan base is a great marker for success.

Some of the most successful global artists right now? Taylor Swift. BTS (and K-pop to a greater extent). Harry Styles. Beyoncé.

The majority of their fanbase? Female.

IMPORTANT: I’m NOT saying men don’t love/support/consume these artists, or that they shouldn’t. Huge numbers of men love and support these artists, and they should continue to do so. I’m stating that the majority of these fanbases are made up of women.

And women show up for you as an artist, on every metric which currently tracks ‘success’. They stream your songs/interviews/skits; they buy your album/record/dvd; they fight over tickets and pay astronomical fees to see you live; they tune into your award shows/guest stars; they watch your movies/documentaries; they post about you and your activities; and they go to bat for you in arenas you aren’t even aware of.

The colleague at work who heard a BTS song on the radio? Oh yeah, it can be intimidating if you don’t know who they are, here let me help you understand more and show you their best attributes and why you might like to learn more.

The family member who doesn’t ‘get’ why this singer is all over their TV? No worries, let me explain their songs and why they resonate, how they connect with their fans and why they’re incredibly talented.

And when ‘real’ artists are brought up to compare them against, not only do they pick an artist who’s peak years were decades ago, they try to rewrite history.

‘Yeah they might be successful but they’re not the Beatles!’ Okay so you see the Beatles as legitimate, successful, global artists with talent. Shall we look at Beatle Mania? A huge part of their success was the women who supported them, who bought their records, showed up to their performances, who funded their financial success and drove their pop culture relevance.

‘Yes they’re a good singer but they’re not Elvis!’. Oh are you referring to ‘The Hips’ who’s gyrating style of dancing ‘drove women wild’? Who’s success in music meant he was *able* to make movies and tour the country. The women who consumed his music, came to his shows, followed his personal life in the news, who watched his movies - they’re the ones who financed his life. Guys wanted to be Elvis, to dress like him, because women loved him.

Why is having a majority female audience seen to delegitimise you as an artist? When they are the ones who got you to where you are now, why are they suddenly not good enough?

It’s almost like the Usher children *knew* they weren’t going to live long and so they intentially left no marks upon the world.

Camille’s speech about how none of the kids actually makes or does anything is so startling: here is a group of people given all the opportunities and access money can buy, all of whom have had this their entire adult life, and they haven’t used it to create or build anything.

You can almost sense Roderiks disappointment in them, in his speech to Perry. He has this hyper focus on what his ‘investment’ money will fund, and says that ‘Ushers change the world’. But outside of himself and Madeline, not one of them has.

Frederick took the money, if he ever got any, and probably funnelled it back into his house or the company. By the looks of it he doesn’t have anything other than his family and his job, so there’s nothing for Roderick to invest in.

Tammy funnelled the money into a lifestyle brand, but one that wouldn’t have her at the front and centre. She scathingly reveals to Bill that she selected him to be her husband based upon his brand and marketability, showing she was ready to create this new empire but with her pulling strings in the shadows. From the outside it probably looks like she hasn’t created anything at all and that it’s all Bill, using his wife’s money. On top of this, the running gag of her storyline is that her brand and ideas aren’t even original, but are ripped off of Goop. So she hasn’t made anything new, and if Goldbug has any impact at all it will be no different to another more successful, more well know product. Hardly ‘changing the world’.

Victorine has some medial training but she looks to be a supporting role to her partner within their clinic, in which Al is the talented surgeon who people come to see and Victorine is a kind of silent partner. So she decided to go into medical devices or smart medical tech, but she relies upon the ideas and skills of others. As Camille said ‘the mesh is the surgeons, that’s why she’s fucking the surgeon’. And her medical knowledge seems to be limited if she thinks just her word and some money will move their experiments into human trials. So she also hasn’t ‘changed the world’ she’s just found someone else who was trying to and co-op-ed their ideas. You could even argue she poisoned those ideas, as Al mentions that the pain medication Victorine has been supplying looks like street drugs and wouldn’t stand up in any medical paper or research study.

Camille is, like she said, spinning furiously and going nowhere. She looks skilled in her field (from the analysis scenes we get, and Madeleine’s signing off on her PR analysis post Perry’s death) but she works from the shadows and hasn’t ‘created’ anything that wasn’t there before. There have been PR spin doctors before and there will be more to come; Camille offers nothing new ans hasn’t ‘changed the world’ in any measurable way. From what little we see of her work she hasn’t recreated a PR agency, hasn’t trained up other spin doctors under her, hasn’t created a brand or company which will outlast her. She leaves nothing behind to show what her skills or talents were.

Leo is shot down quickly when he claims he makes games: he doesn’t, he gives money to people who do. So he too will leave little to nothing behind when he’s gone. His references to past boyfriends show no long lasting relationships in his life and he has no other hobbies or pursuits we know of. Like Camille he hasn’t created a company to help with game design, hasn’t trained up others within this field he claims as his own. Even with the gaming ‘world’ it sounds like he changed very little. Fredrick’s throw away comments about Leo’s flat reveal that Leo hadn’t even had input in the decoration or style of his own home: he just latches onto the styles, ideas, aesthetic of his current boyfriend and goes with their ideas and plans. It’s such a small tiny thing but he truly has no original ideas in any aspect of his life.

And finally Perry, who’s desperate for that start up money but clearly has no plans or ideas on how to use it. He’s had a year and his main idea is an exclusive whisky bar. Even this idea, for all its crude intentions, shows his lack of vision: he doesn’t understand that to get the reputation he claims his bars would have will take time. You don’t just ‘create’ a consequent free bar celebrating decadence and privilege overnight. Reputations take time and as Madeline asks ‘what will be different about this one’ to draw people in to begin with? Studio 54 (which he compares his club to). only operated for 3 years before closing: not the smartest inclusion in an investment pitch.

To be fair to Perry though, looking at what the other siblings did or didn’t do with their loan money it seems a bit unfair that his ‘Blow job whiskey bar’ was shot down so decisively and cruelty. Assuredly Leo’s ‘video game studio for just myself’, Camille’s ‘PR agency just for me with my two assistants’, Victorines ‘medical training and clinic where I help out other surgeons’, Tammys ‘subscription lifestyle brand ripped off from a celebrity’ and Fredrick’s ‘I’d just like to work with you Dad’ were all clearly given the green light. But Perry apparently wasn’t good enough. Maybe this was a reaction to Roderick getting the news he was dying as so he wanted Perrys investment at least to actually change something, but still. He might as well give him the money either way at that point.

And I think it’s probably intended as a commentary on the ultra wealthy. Like of course people with more money than most counties have no plans to leave anything for the next generation. They have achieved their high levels of success by being solely focused upon themselves and so are honestly incapable of considering others. They are solely interested in enjoying the life they are currently living and why strain themselves to fight and build something when they don’t have to?

But it also works so well as a supernatural legacy and ironic conclusion to Roderick’s deal: he agreed that none of his bloodline would outlive him, and so none of them built anything that would.

Roderick Usher is such a good bait and switch of a villain! You spend most of the show watching his ‘downfall’ and corruption, knowing that he’s going to become the monster Dupin knows him as. But you still want to believe he can’t be all that bad, and he somehow knows this and plays right into it until the very end

Roderick is telling his story and peppers it with all these asides and moments that make the audience feel some sympathy for him. That make us believe he either has good intentions beneath everything else, or originally had them and was corrupted by power.

He implies he truly didn’t know Ligodone was addictive: he tells Dupin ‘you belive the chemist when he you tells you the drug they made isn’t addictive, you trust your company not to abuse the use of that drug’. He reminds Dupin (and by extension the audience) that he ‘didn’t make the damn thing, I just sold it’. And then it cuts to show that the drug company was originally acquired by Roderick’s predecessor as CEO, who took his pitch for a pain free world and ran with it. This makes the audience feel some small sympathy for Roderick: not enough to think he’s a victim in anyway but it worms in there and makes him not as monstrous as he was a moment ago. It implies he is not solely to blame.

The audience see’s (we think) Roderick getting corrupted and swayed to the dark side of corporate greed. Brilliantly they show Roderick in present day acting in ways that seem in character for what we have learnt about him, and then flash back to the 70’s to reveal that those lines or attitudes where originally those of the old CEO who Roderick *hated*. It appears as if pure innocent and trusting Roderick who runs straight at injustice has been corrupted by the old CEO, has become the monster or villain that he once hated. It’s a small tragedy mixed in with a busy narrative but it impacts the audiences view of who Roderick once was. We interpret this as an originally good if naive man corrupted by power and wealth. Coupled with all those scenes in the 70’s of Madeline being more emotionless and pragmatic, pushing Roderick to be more manipulative and strategic, it appears as if he has been ‘forced’ or ‘groomed’ into his role against his original intentions. Part of the scenes we then spent in the 70’s is spent quietly mourning this version of Roderick, as we know it doesn’t survive his ascension.

But there are enough moments to imply that Roderick is still being an unreliable narrator. When Dupin first apologised for faking an informant, saying he feels that his lie had some role in the death of his children, Roderick’s first response is to run with that false impression. The way he responds to Dupin’s apology sounds like he’s gearing up to lay into him about his role in Roderick a children’s death, to double down and agree that Dupin does bear some blame for how they died.

And then one of his dead children appear to him. They make him pause, collect himself, and acknowledge what Roderik knows to be true: Dupin’s lie had no bearing on their death (his deal with Verna is the reason they’re dead) and any impact of that lie on their final fate is solely due to Roderick believing it and then placing a bounty on the supposed informants head. He turned his kids against one another, Dupin’s lie was just the vehicle. Roderik only voices this when he is forced to by his literal ghosts.

There are several moments when it appears his dead children are ‘keeping him honest’. When he’s getting off topic Perry or Leo appear to shock him and remind him to keep telling their stories. When he tries to downplay his part in the creation of Ligodone and argue that the horrors of its addiction are actually due to a street derivative which ‘hasn’t been FDA approved’ Camille’s appears behind him to force him to reconsider and eventually interrupts him so abruptly he trows a glass at her. When he’s lamenting Frederiks death and remembering him as a child not an adult (the last time Roderick was any kind of father to him) Fredrick takes over child/Frederick’s body to remind him of how he died and to get back to the story. It’s almost like he’s saying ‘you don’t get to remember me like this, you don’t get to miss remember and pick and chose: this is how I died and it’s because of you so keep going’. It’s only in hindsight so we realise this was Roderick trying to subconsciously control the narrative and change this confession, to reframe his actions and those deaths. And the kids didn’t let him get away with it.

Even Juno as a narrative device helps to hide Roderik’s rotten centre: she is such a bluntly honest and sincere person, she lends a little credence of honesty to Roderick. We think he must have some small good in him (albeit wrapped up in all the ‘old enough to be Juno’s father, makes the opioid she’s addicted to, doesn’t defend her from family cruelty’ BS of his ‘love’) as she is devoted to and loves him. Plus when we first meet her he states he loves her, he is always shown to be gently affectionate towards her, and even claims she is one of his ‘two favourite ladies’ along with his granddaughter who we know he dotes upon. But then at the very end his twisted horror show of devotion is revealed: anything close to love he holds for Juno is warped by her being a living totem of his product, something he can point to and use to further his cause. Juno is an object to him, one he enjoys complete control over. He has never seen her as a person in her own right, just a doll/puppet to prop up his drug empire, and he can’t separate her or his feelings for her from the drug she is dependant upon.

Added to this, towards the end of the show we discover that this ‘unburdening’ of Roderiks sins, this confession to a litany of crimes, which will give Dupin closure for both his life’s work and answers to Roderick’s betrayal of him in the 70’s… that isn’t even Roderick’s idea! Verna told him to confess. Even at the end Roderick isn’t mending bridges of his own volition.

And then his final revelation: he’s been lying the whole time, maybe his whole life, to everyone. He had always know people would die to ensure his success, that he would have to climb over ‘a mountain of bodies’ to get to the top and it never once made him pause. He wasn’t corrupted, he didn’t get poisoned by the old CEO and his views, he didn’t change to take on more of Madeleine’s views. He just noticed the best way to get work done and adapted.

Dupin had it right from the start: the only good that he ever saw in Roderik was a reflection of Annabelle lee’s. Like the moon has no inherent light of its own, Roderik hid his darkness behind the strength of Annabelle’s goodness until the time came when she couldn’t shine on him anymore. And he was revealed for the empty dead husk he had always been.

And Annabelle even said it herself, when then kids chose Roderick over her. They were starving and he told them to gorge themselves but he could never actually feed them, because he had nothing real to offer. Empty through and through, and just. So. Small.

I can handle roughly 100 people dissolving in acid but I draw the line at the goldbug launch presentation

Loving the complexity of Madeline Ushers character: a woman who declares she doesn’t want to be limited by men, who’s life is defined at every turn by the decisions and actions of her brother.

……

Madeline Usher is doomed by her attachment to her brother, and it is the root of all her eventual pain.

When Verna offers them the deal, it’s Roderick who ‘charges forward, straight at it’ and accepts the terms despite the fact that the only ‘next generation’ they current have are his kids. Madeline agrees afterwards but only once Rodrick makes it know he is already in. I don’t think she’d have gone for it if he had objected, she’s always had a very ‘both of us or neither’ kind of attitude.

And then she is as much these kids parent (from what we have seen) as Roderick is. Granted we see next to nothing of the kids biological mothers so we have to assume they weren’t very involved (either by their choice or other circumstance) with their kids after Rodrick got his claws into them.

That first scene when we meet Perry Madeline and Roderick are equally dismissive of him, but she is the one asking questions and prompts: you’ve had a year to come up with an idea, is this it or is there more? How are you going to make this successful? Why will your pitch be different? She even asks Roderick to jump in ‘anytime now’ to help her handle this train wreck. And Rodrick has just received the news he’s dying but I think it’s telling that Perry is looking at both of them for validation, for support. They are equally intimidating but equally supporting him.

With Camille we don’t get 1-2-1 interactions between her and her father (despite her own obsession with winning his approval) but we do get a scene with Madeline. After Perry’s death Camille lobbies to be given the power to lead the family’s PR response, and Madeline takes her seriously and asks what she would do. When Camille lays out her plan it’s Madeline who gives a proud nod of approval and okays her actions.

Leo unfortunately gets no parental interactions from either senior Usher. Victorine only gets it right at the end just before her monstrous actions are revealed. Otherwise all she gets from Roderick is pressure and the interactions of an investor, not a father.

Tammy gets the most parental interaction from Madeline, which is tragic as she’s trying to show her father that she can be the heir to his empire. But her aunt is the one who shows up to her presentation, who gives her the pep talk, consoles Tammy (in her own way) about the failure of her marriage, who believes Tammy when she is terrified by someone in the crowd.

Frederik is always focused on his father so Madeline doesn’t get many moments with him, but again Roderick is more of a CEO or boss than a father: focused on how to protect the company, how to secure the future. Little to no concern or support to his son as he mourns his wife’s injuries, as he deals with his siblings deaths, as he takes on more pressure from the world and the family. Roderick only mourns his son (as opposed to his heir) after Fredrick is dead.

Added to this: the security on all the kids? Madeline arranges it. When more kids die? We see Madeline demand it be doubled. She’s the only one still fighting for them, fighting fate itself.

With Lenore we see more interactions with her and Roderick but her interactions with Madeline are just as sweet and show a close, loving relationship. Lenore even calls her Granny Madeline. And Madeline is the one planning to preserve Lenore via AI: this must have been the main reason she begged Roderick to kill himself. Not to save her to but to spare Lenore. What’s the bet that she started working on the AI project in earnest when Morelle announced she was pregnant?

Madeline tracks down the supernatural entity they made a deal with and tries to negotiate a new deal: again (now we know the original terms) this is likely for Lenore’s benefit, not hers. She faces down a power far beyond herself and tries to save or protect what’s left of her family. Not Roderick.

Madeline took steps to preserve and protect her nieces and nephews, and grand niece while her brother did next to nothing. Once you know the nature of their deal with Verna, Roderick’s attitude to his remaining children after they remember who Verna is is just baffling.

Madeline even makes reference to birth control that she took on the off chance the deal was real. She says to Tammy that she didn’t want children with her first husband and hasn’t since, but she has been a mother to Rodericks kids. This lack of biological motherhood hasn’t spared her for the heartbreak of loosing a child. Or a grandchild.

And it’s even the decision of a man (again her brother) which is going to end her family’s legacy in another way. His marriage to Juno, his treatment of her, his denial of her fight to get clean and his horrible reference to himself as Victor Frankenstein and Juno as his monster - this is what pushes her to sign away the company when she inherits it. Madeline speaks about the board choosing her and moving the company away from pharmaceuticals, into the fields of AI and tech. Sure Madeline then died but a lot of the groundwork was likely there, and it could have been a possible path for the company. If Juno didn’t inherit it all and break it apart. Because of Roderick, and the way he treated her. Once again Madeleine’s legacy is destroyed by her brothers actions.

The irony of 1970’s Madeline declaring she doesn’t want to be limited by men’s choices or by a man, taking steps to protect her self and her heart, focussing her work on things outside of medical drugs in the hope that one day that can be what they become known for… then being doomed to more heartbreak and failure by every one of her brothers careless actions is so sadly tragic.

Just finished The Fall of the House of Usher and wow I have thoughts.

……….

Verna is fascinating!

My interpretation (I have read literally NO Poe so sorry if this is obvious) if that Verna is a personification/demon/something for Choices and Decisions.

When she first meets the Ushers she offers them a choice: here is a possible outcome of the decisions you’ve already made, which might well happen on its own, but would you like to *ensure* that it happens? What would you choose to give up to get what you want? I don’t think she’s *creating* this outcome (as it’s literally what Madeline said would happen while they bricked the CEO into the wall) but she’s saying she can make sure certain possible outcomes are the only ones that happen.

Death and killing might be part of her powers but at least in the case of the Ushers she’s only killing the children because the deal was none of them survive Roderick.

I think her deal with Madeline and Roderick is a mix of be careful what you wish for as you’ll get it in unexpected ways, and exposing their own hypocritical choices. The Ushers believe they are entitled to the company due to their father, that it is their legacy, that if he had only acknowledged them and planned for them to continue the company in their name they would have everything they deserve. But in order to get that legacy, they have to behave in the exact same manner their father did, and think only of themselves while not plan to leave anything for their children.

Verna even offers choices to the other people we see her interact with.

For Perry she reminds him he could choose to stop recoding people, choose not to peruse his brothers wife, choose to end the party. It’s not too late. Even at that party when she tells Morelle to ‘leave now’ it is still a choice, one Morelle doesn’t take which leads to its own consequences. And in the run up to the party we’re shown so many moments when Perry could have chosen differently and the outcome would have been different: having the party at all, inviting Morelle (he turns away and then back to offer her a ticket), Napoleon saying he’s better than this and doesn’t need to become a drug pusher, the building not having water and so choosing to use the assumed water on the roof… right up to the last moment when he chooses to give the signal for the sprinklers to go on.

And her conversation with Perry Verna almost admits it: the series of decisions which lead to him, some small ones, a big one, and then another smaller on and now here he is. Choices he wasn’t involved in have led to him being there that night. And she loves bad boys because they always make all the wrong choices.

For Camille she refuses entry to the lab multiple times and offers her the choice to turn around and go home: it won’t change her fate as she’ll die either way, but if she goes home she’ll die in her sleep instead of being torn apart. She doesn’t *need* to see everything with her own eyes, she already has the proof. But Camille chooses to revel in her sisters shame, to twist the knife, and so she dies painfully.

And Napoleon is told the cat he wants to buy isn’t for sale and to choose to go back home to his boyfriend (and likely confess his actions) but he pushes through with his money and demands that he should get what he wants. He even has a moment within his confrontation with the cat when he thinks this might be a drugged hallucination, but instead of stopping or calling his boyfriend he continues to destroy their home.

Victorine also gets choices: the file of perfect patient data is handed to her but she doesn’t have to call Verna back about the human trial. Verna asks at multiple points if this procedure is safe, if the surgeon has agreed, even if her patient data is safe in this clinic. And Victorine chooses to lie at every opportunity, chooses to sacrifice this woman’s life in the pursuit of her dream. And so she is haunted by her lies, driving her to a more gruesome death than necessary.

For Tammy Verna shows her how to make better choices from their first meeting: we only saw one other sex worker play out the fantasy scene pretending to be Tammy but their interactions with Bill were surface level. When Verna appears as Candy she plays fake-Tammy as caring about Bill, showing Real-Tammy how she could be a better partner from the get go. Verna compliments his cooking, says she’d been craving his ‘famous chicken Alfredo’, asks about his work earnestly and listens to his replies. Even later, when she is Tammys hallucination double, she keeps showing Tammy how she could choose differently: Bill would probably set your fight aside considering another sibling has died, you could call him? Bill would probably be concerned about your health, you could apologise? And after her breakdown Verna pretends to answer Bills call (which Tammy had thrown across the room) and apologises to him for how he’d been treated. The whole time Verna is telling Tammy ‘it’s not too late, you could choose to be kind, you could choose to make yourself happy’: like Camille it wont stop her inevitable death but it could have been easier. And again she didn’t have to die in this manner, she could have gone in her sleep but her chosen treatment of Bill and her own guilt over her decisions has been keeping her awake.

For Frederick, Verna even admits that she has chosen his manner of death *due* to the choices he made: he would have died in his car from a heart attack but he chose to take his wife home, chose to torture her, ‘chose to pick up the pliers’ and so here are the consequences of his decisions.

For Lenore, the only innocent in the whole family, Verna wants her to know that her *choice* to give a statement, her choice to break with her family and get her mother out, will have lasting consequences. That Lenore’s decision will have changed the world.

That Verna’s power focuses on choices is further emphasised with her knowledge of ‘what people would have been’ as I think that’s an expansion upon what different choices would have led to. Of people had chosen differently then this is what they would have become.

And in Verna’s interactions with Pym all of the moments she references are ones where choices are made: the choice to leave a man in the desert, to abandon a guide in the snow, to assault a woman in the arctic. Moments when a choice or decision was made.

So I think she is a bargainer, or demon of decisions, and while she isn’t inherently evil she has her own morality as seen when she chooses deaths which are painful or peaceful, depending on a persons actions.

And really the message of the whole show is choices and their consequences.

Random thought spawned by TikTok: Successful multigenerational parenting should take notes from Star Trek.

The captain and first officer are the command team: they decide (within reason) where the ships going, how fast it moves, how it gets there etc. They call the shots and the buck stops with them. They are ultimately responsible for the ship. And they may switch roles as the situation calls for it, with first officer becoming captain as needed, but at the end of the day they operate as a team.

These are the parents.

But if you’ve set up your village correctly, they can be the bridge crew. Experts in their field, ready with advice, options and to provide support. Sometimes the captain shouldn’t make a decision before checking in with one of them for their knowledge or advice. But no matter what advice they get, the command crew should be confident in making their decisions because it’s what they think is best. They’ll have to justify it later if the admiralty have questions, so they need to be sure of their choices regardless of who gave what advice.

And if you’re a member of the bridge crew (looking at you Grandparents) you need to accept that you’re not in the command chair. You might give your expert opinion and advice on a situation, but the captain is likely getting advice from multiple people and their decision probably takes all that advice into consideration. You (the navigation officer) might think the course forward is obvious, but another expert (the communications officer) has more information for the captain which you’re not privy to which informs the command teams decision.

And once the captain has made a decision, you can’t contest it. Like the ref in any sports game, their call is final.

For the ship to sail smoothly, the bridge crew needs to work as one, and support the command teams decision. And yeah, sometimes the captain is going to make a bad call. But then you debrief afterwards and learn where you went wrong. What should the command team do differently next time? How should they weigh or value different peoples expertise or advice?

As the bridge crew, you’re there to support command. Advise and inform yes, but ultimately to aid command so they can make the hard calls.

And giving them honest advice, to the best of your knowledge, and then aiding them once they’ve made a decision? That makes them more likely to turn to you again in the future.

And we can take it a step further - sometimes the command crew will be away from the helm, maybe injury or personal reasons. And they’ll need to appoint someone else (‘Sulu, you have the con’). They’re only going to pass that command to someone they trust can handle the responsibility. If you’re constantly questioning or overriding their decisions, how likely are they to trust you in the captains chair?

The ship works best when the whole bridge crew work as one. Every person is a valued member of the team, and at the end of the day the ship is the priority.

—————————————

Don’t know how well I articulated this but the analogy wouldn’t leave my mind…

We’re all useless alone. It’s a good thing you’re not alone.

Happy 5th Anniversary, Stray Kids!

(PS: thank you @hyunebear for putting up with me working on this ( ;∀;))

I’m only two episodes into Hospital Playlist and I would die for this found family group of dumbass’s. Everyone’s almost 40, with 20 years for friendship together, they speak to each others mothers as if they are their own, they’re constantly being annoyed by one or more members of the group, all piling into one tiny car to all get take out, they have a band together… ❤️

Just seen a post which reminded me anew of some of my frustration with the Fantastic Beasts series and the train wreck it became.

Firstly and mainly: Why did they align Grindlewald with ‘preventing the holocaust’?!

There was literally no need for this plot point as Grindelwalds viewpoint and justifications had had little to no fleshing out in the original material (HP1-7). As a result any subsequent opposition to him no matter how well intentioned, well reasoned, or factually accurate necessitates someone arguing that either the holocaust isn’t likely to happen (and so Grindelwald is lying) or has to happen ‘for the good of the world’. You can state that you don’t believe he truly wants to save more lives, that his current methods are violent, that his future plans also look to cause pain and suffering, that his actions will cause division in the magical community….. and still the only take away is that you have to argue in defence of the holocaust.

And one on my main frustrations coming off of this is there was so much you could have done with the character and they didn’t use *any* of it. All we know from the primary material is: grindlewald was a dark lord around the time of the 2nd world war; he went to durmstrang, he was expelled when he was 16 and spent the summer with relatives in the UK where he met and charmed/radicalised a young Albus Dumbledore; he was essentially a supremacist who thought that wizards were inherently better than muggles and therefore deserved to rule over them; when confronted about these views by Aberforth he fights him, during this fight Ariane is killed (and no one is sure who actually killed her); he eventually steals a wand which is the Elder Wand; he is defeated in a duel by Albus Dumbledore and imprisoned in his own jail; he dies regretful of his actions at the hand of Voldemort.

There is literally SO MUCH room to add things in there, and none of it called for explaining his actions as ‘he predicted the holocaust would happen and is acting to prevent it’.

And I just wish they had fleshed out those viewpoints more or have given any creative thought to that.

Grindelwalds supremacy system (to make it distinct from Voldemort’s) could have viewed magical ability as more important than breeding. It’s implied in the books that some people are better at or stronger at some types of magic (Gilderoy Lockhart is very talented at memory charms, Ginny’s bat bogey hex is particularly strong) so his system of oppression could be based upon magical strength. You could have assessment checks or test within his ranks that ensure only the magically strong progress; a magically strong muggleborn is more respected than a magically weak pure blood (think Hermione vs OG Nevil). This would also support his slogan Magic is Might, and the view that wizards are inherently better - it is clearly only magical talent that should be rewarded with promotion and responsibility.

And this system therefore has its own fundamental flaws - just as a system based upon class and breeding will encourage nepotism, stifle innovation, and reward mediocrity, a system based upon rewarding brute strength with access and approval will result in corruption, a strong gang mentality, and violence. Introduce characters that show this, just like the Malfoy’s did for blood supremacy.

And he should have been written as a supremacist: an eloquent, articulate, charming one but one with a flawed and corrupted world view. Someone who is able to win over people to his side, a charismatic leader figure. I wish they had modelled him more like a cult leader; someone who with the sheer force of their personality recruited wizards and witches to fight against the stature of secrecy (under which they and their families have lived their entire lives) and advocate for ruling over muggles. There’s something compelling about him, and once people are swayed by his view they find it hard to leave.

I wish they had orchestrated several confrontations with Dumbledore and Grindelwald where they fought head to head but circumstances always got in the way of them fighting to the death: one side was evacuating a position so one of them had to flee with the fighters to protect them, one was only on a recon mission and so fled to fight another day, one was injured in a previous fight and so was trying to escape the whole time, etc etc. There could have been a run up of fights (like Harry Potter and Voldemort had every year in the books - it’s formulaic but it works) leading up to the final flight between them at the end of the (supposed) 5th movie. The confrontation a long time coming and the audience dying to see them finally loose all against one another. And them not meeting before or outside of these fights? Harry/Dumbledore and Voldemort didn’t meet outside of specific fights, there are magical ways to hide and cloak yourself to prevent attack. Grindelwald stays in a secret location, unplottable and with few people around him: so the only times to attack him are when he moves into the open. There you go, lack of confrontations solved.

You could even have had him not graduate to violence right away, or have the violence be small and not able to be traced to him. Mirror the rise of the N*zi party and H*tler in that initially people don’t take Grindelwald seriously, then they won’t think the small time attacks are linked to him in anyway, then people start to agree with some of his points, and he is suddenly a leader of a ‘revolution’ and it’s too hard to oppose him now. The first few confrontations with Dumbledore or the audience stand in ‘good guy’ could even be before it’s known that he is behind any attacks and it’s literally a meeting of minds, a discussion of view points, the good guy thinks Grindlewalds behind these recent attacks but no one is going to believe him as Grindelwald is an upstanding public figure.

Don’t have him just waltz into a house and kill a baby for no f*cking reason just to remind the audience ‘oh yeah this is the bad guy, don’t like him’. Have him be charming and nice and persuasive to someone and then have a comment or a cut scene or something where he describes a future workforce of muggles to make magical products like someone describing a sweatshop, have him talk about managing the needs of muggles or ‘culling their breeding’ like a farmer would a herd of cows, have him mention the killing or maiming of a muggle like they are an animal or a pet. There are so many chilling ways to show lack of humanity or care, to show how beneath him he feels muggles are, and the absolute worst and most sloppy would be… to kill a baby in its crib for literally no reason.

And the magic system!!

I wished so much for something different for the USA but the system they got in this is just appalling.

And when you think about it, it could have been so much richer!

Like The Mayflower was 1620 and the Salem witch trials were in the 1690’s… so almost from the get go of the colonisation of America, the magical and non magically communities would have been separated. So for the majority of the colonisations cum settlement of the USA witches and wizards would have been in hiding.

In the UK we see magical enclaves hidden away in muggle surroundings (fake doors and walls, additional buildings squeezed between others) but these places and cities have been around since long before the Statute of Secrecy. London was the Roman city Londinium. So when the statue came into effect they had to seal away their magical districts and houses, but they still existed in the same space as previously integrated but now solely muggle architecture.

Not so the case in America. Chicago for example wasnt ‘founded’ as a city until the 1780’s. You could argue that as the magical community had been separate for almost 100 years at this point they might have walled off a whole section of the city for themselves to live in. Or even founded their own cities, which you needed magic to access. As colonisers/settlers moved West you could imagine a group of solely magical people creating their own enclaves. Society and muggle/wizard culture would have evolved completely differently than what it had been and became in the UK due to this concurrent growth and settlement.

Americans think about their national identity in a way unique to them, due to how recently their country was ‘created’. Wouldn’t this translate to the magical community? Would magical family’s talk about coming over on the ‘first Portkey’ the same way people claim they can ‘trace their family back to the Mayflower’? Would they measure their standing in the magical community not on wether they were pure blood, or from a Noble House… but instead on if their ancestor helped found a city, or settle a state?

Immigration/emigration/refugees, what makes someone American, the fight for American citizenship… does this translate to the magical community? Do they view European Wizards or Asia-pacific wizards as ‘not American’ if they’ve only recently moved, or working on a temp visa? Do they worry about other wizards and witches overstaying their visas or their welcome, and disrupting the American system of government? Is their a feeling of the ‘old world’ magical communities being slow and behind, stuck in the antiquated past?

In the UK setting of the HP books grounding the racial struggle in the class system worked perfectly as anyone living within that system understands it and accepts it intrinsically - the arguments and fights over blood purity are just British classism given a different name. But what’s the American version? Is it how recently you settled (is something like ‘first Generation witch’ similar to mud-blood, but it implies your parents only recently came to the USA and so you’re not a real citizen yet?) or if your family has been here from the start (Mayflower Mast families is slang for those who came over with the first port-key, the Mast of the first ship) or where you settled (just as some cities in the USA are seen as historical or ‘established’, is there a similar viewpoint to living in an all magical city vs living in a muggle city and hiding).

And due to the long lives of magical people you could have introduced characters in America who were the Malfoy’s or the Black’s - not due to pedigree or age or being titled, but because their grandparents founded/built/created the American St Mungos, the USA’s diagon Alley. Heck even have someone at MACUSA is called Ilvermorney because their grandmother founded the school. They have a younger sibling still there but they are working their way up the Autor ranks, likely going to aim to run MACUSA at some point, their aunt did in the 1870’s…. Basically make them the Kennedys of magical America.

The list just goes on and I get so angry when I think about what could have been! There were so many cool things they could have done when expanding the world of HP to another country, or when fleeing out the main villains methods and plot. And to see that waste on what they did do, which is now cancelled anyway… it’s just so soul destroying.

What I’ve learned about how my brain works:

About 2 weeks ago I finalised plans with my father to help me put a new fence post in my garden. The old one had rotted at the bottom, it was leaning, he said it would be the work of an afternoon to dig out the base, secure and concrete a new one and attach it to the existing fence. Date and plans confirmed, I ordered all the supplies to be collected on the day of the build.

This little bit of ‘DIY prep’ clearly activated an area of my brain which had been dormant through the winter.

That night I decided I would also like more green in my dining room: I’d seen and saved something on Pinterest several months before, so now was clearly the perfect time to make it. I ordered plastic hedge panels, cut them to size, wove them together using spare twine, wired the whole thing with spare string lights, and used green zip ties to attach fake succulents all over. I then drilled 5 large bolt holes in my wall to hang this art, ordered enough 2x4 wood to make a frame, measured and cut to size, stained it, attached corner brackets and TaDa…. 5ftx5ft wall art where 3 days before there was nothing.

So main DIY day comes and we do the thing, the new fence post is up and it’s all secure and great. Job jobed. My father leaves.

Once again my brain wakes up and goes ‘we like this accomplished feeling, more please’.

In the 5 days since the fence post was fixed I have:

Bought 2 more bags of white gravel (my front garden has needed this for almost 5 months), Put weed killer down on the existing gravel, in a garden shop sale I’ve bought 4 more large terracotta plant pots, bought 9 new summer/autumn heathers to go in them, sourced enough wood mulch, peat moss, and ericious soil to fill them all, reorganised and styled these new pots alongside my existing plant pots filled with winter/spring heathers, and weeded the rest of my front garden; ordered gravel boards to support and provide a level base for my small area of decking, sealed them and secured them to one another; researched and chosen the rose bush I will be planting in the spring; chosen and ordered enough fence paint to cover my garden (and ordered fence paint brushes), decided on the colour of my kitchen tile paint and bought foam rollers so I can start next weekend.

What I HAVE NOT DONE in the last 5 days, or the 5 before that when I first felt this dormant DIY urge:

Called my local plumber/handyman to fix the crack in my bathroom sink, which has been there since September, and means I can’t properly use said sink and have had to have a plastic bowl placed inside so I can wash my hands and/or face.

This weekend I plan to do more DIY and probably mine-sweep my local store for cheap plants to take home and ‘rescue’. Despite my best internal efforts, I will likely not call the plumber.

I don’t know why I’m like this.

Ooh interesting! I thought that was the eldest son in the wheelchair but I’m realising now maybe not, as he was up and standing in the office later.

Ooh so in the OG timeline the gramps/chairman didn’t die in the car crash. So it’s kind of all going down the same way in the ‘new’ timeline as in the OG one.

I hadn’t considered that we would be to see much of Do-Jun’s story continuing after the hit on Hyun-woo is complete hit I kind of want that now. How would he settle back into life again after all of this, with his future knowledge all gone?

Ok first real post here so go easy on me.

If anyone’s been watching the Kdrama Reborn Rich, I have so many thoughts and predictions that I’m sure are going to turn out to be hilariously wrong but I just had to vent *somewhere* so forgive me my crazy ramblings. plus it’ll be fun to look back later and see how shockingly wrong I was.

But also potential spoiler warning in case I’m right about anything, plus I’ll be referencing events in the show up to episode 11.

SPOILERS

—————————————————————

So.

THE WORLD/ TIME TRAVEL/THE RULES

I think the world Yoon Hyun-woo has been reborn into, where he is now Jin Do-Jun has elements of self fulfilling prophecy and timeline correction. My evidence? Yoon Hyun-woo’s mum and the story Yoon Hyun-woo reads in the chairman’s autobiography that he shared with him as Jin Do-jun.

Jin Do-Jun is working off of the knowledge that he has from the previous OG timeline, and as such he can only make decisions based upon this. As Yoon Hyun-woo he didn’t know that his mum had bought stock: either the family never found out after she died or his Dad didn’t tell him.

So though he went to great lengths in the ‘new’ timeline to remove the reason why his mother died in the OG timeline (trying to save his fathers job, trying to ensure his father still got worker protections, finally trading and bartering leverage so that his father wouldn’t be on the picket line protesting and being beaten up on television) in an effort to save her life, he didn’t take any steps to stop his mother buying that stock or to protect its value. He also wasn’t aware how bad her mental or emotional state was in the OG timeline, and so couldn’t have predicted she would take her own life once that stock failed. And so in the ‘new’ timeline he’s blind sighted by her suicide.

So his future knowledge is limited to things he knew, and he might not know all the information about something. In those grey areas Hyun-woo knew nothing about, things can happen or could have happened to affect change. Plus in some ways the timeline will try and correct itself: In both the OG and new timeline the mother died. Some events are inevitable.

Secondly, when the chairman goes missing Do-Jun thinks he knows exactly where he will be, due to a story in the chairman’s autobiography that he read in the OG timeline as Hyun-woo. However this turns out to be wrong: the chairman is luckily nearby but not where Do-jun expects him to be and not for the reasons he thinks the chairman would be there. When Do-Jun shares the reasoning/story he knew from his life as Hyun-woo the chairman laughs, and then states it’s a good sounding story and he will use that from now on.

So Do-Jun’s knowledge from the OG timeline can be compromised or incorrect. Plus the chairman’s statement, that he will use this PR worthy story/reasoning going forward, could explain why this was the version in his autobiography that Hyun-woo read in the OG timeline. Self fulfilling prophecy, plus Do-Jun might not necessarily have the right information.

My read on this? While Do-Jun can make small changes, the larger events will still happen as the timeline corrects itself. The changes he can make are dependant on what he knows, and even that can be incorrect. And he may even *cause* some events to happen.

EPISODE 10/11 AND THE ACCIDENT

We’re made to think that in the OG timeline this crash happened and the OG chairman and Do-Jun were killed. Due to the changes Hyun-woo/Do-Jun has made as 4-2 (befriending the driver) this didn’t happen in the ‘new’ timeline. Wether this is true or not in the OG timeline I’m not sure. But if so the ‘new’ timeline will work to self correct and events will play out as if they had died.

We’ve seen the chairman is loosing mental capacity, likely a combination of the stress of the crash compounding his chronic condition. I think (once it comes to light) the siblings will use this to question his decisions regarding Do-Jun and the succession, and act to remove him as chairman. It will be as if the grandfather *had* died, but likely much more messy and dramatic within the family (due in no small part to Do-Jun’s actions in the series so far to ruin them all). Within this messy transfer of power I think Do-jun will loose much of his power and influence in company: the siblings taking the opportunity to get revenge on him for his actions in episodes 2-10. So in regards to the *succession* it will be as if Do-Jim *had* died in that crash.

But wait! In the OG timeline Do-Jun died in that first ‘accident’. And we can guess this lead to much of the tension we see between 4 and 4 Alpha and the rest of the family in the OG timeline in episode one. And why 4 Alpha wanted to ‘know the truth about the accident’. Surely this will be changed in this new timeline due to Do-jun’s survival?

No.

I think the timeline will move to correct itself.

I think there will be a second attempt on Do-Jun’s life, by the same person as the first (at this time we don’t know if this is his cousin Jin Seong-jun or Seong-Jin’s father/ Do-Jun’s uncle Jin Young-Kim: all that has been confirmed is that it’s not Seong-Juns wife, Mo Hyun-min). In this second ‘accident’ Do-jun will survive but, realising that this family member won’t stop trying to kill him and not wanting to put other friends and family at risk, he’ll decide to allow the family to think he is dead, and continue to work from the shadows to take the Jin family down. Do-Jim will realise that with his grandfather/the chairman having been removed he has lost much of his protection within the company and family, and he might not survive a further attempt on his life.

Do-jun will go into hiding, I think only telling his CEO friend Mason Oh that he’s alive and working to take Soonyang down. And once the ‘new’ timeline’s Hyun-woo turns up at Soonyang, Do-jun can use this resemblance to move around the place practically unnoticed: why would you think it’s Do-jun who’s been famously dead for 15 years? Much more likely to be a minor employee wandering where he shouldn’t be.

In essence I think the ‘new’ timeline we are in will eventual become the OG timeline, with some small changes. Think Harry Potter time turner rules: small things can change, but the overall narrative remains.

This second ‘accident’ will take the place of the first from the OG timeline: in this ‘new’ timeline Do-Jun’s mother 4-alpha will be suspicious of foul play as she overheard Do-jun and his father confirming the first accident was an assassination attempt. This will lead to the family breaking ties with the Jin’s until 2022, when 4-alpha once again returns for answers, offering her shares in the company as a bribe for the one who knows the truth.

The second ‘accident’ and Do-jun’s supposed death will cause Seo Min-young ( the prosecutor) to shut herself off enough to become the cold and focused person we saw in the OG timeline, and explains why she has a target on the Soonyang company: in this ‘new’ timeline she also knows the first ‘accident’ was planned and so will believe that her boyfriend has been killed by his family.

And my final out there prediction….

THE KILLERS IDENTITY

The whole series the main background mystery has been ‘which family member killed Hyun-woo in the OG timeline?’.

I think… Do-jun killed himself/hyun-woo in the OG timeline, and will order the hit on the Hyun-woo in this ‘new’ timeline.

Firstly and mainly, he will realise the self fulfilling prophecy and cyclical aspect of this life. In order to go back and effect these changes, Hyun-woo has to die and in that way (violently betrayed) so that he is motivated to destroy Soonyang once he becomes Do-jun.

Secondly Hyun-woo has to die in the course of brining Soonyang’s corruption to light, so that afterwards Do-jun can reveal himself, come back into the light and revel in the groups destruction. Do-jun can’t reveal himself if Hyun-woo is still alive: they’re in essence twins. Questions will be asked and mainly by Hyun-woo himself as to why they are identical. But no one is going to suspect foul play if there is clearly Hyun-woo’s body, in the centre of an international corruption scandal, with a well documented life working for Soonyang, who can’t speak for himself anymore to contradict Do-Jun’s and explanations.

Plus as time passes from Hyun-woos death people will forget *exactly* what he liked like and only remember that he resembled the prodigal son who has just returned, Do-jun.

So yeah, I think Do-Jun will have to spend the next ~20yrs working from the sidelines and background to make small issues and problems for Soonyang and the Jin family, kind of like how he did before he was revealed as the main investor in Miracle. Lots of sneaky work and near misses, kind of a death by a thousand cuts plan. And he will set up/add to/make worse the things he knows the family will do between now and present day, so that they will be caught by prosecutors in 2022. And when that time comes the whole group and family will be taken down in one go.

Anyway, that’s my thoughts on the world, we’ll have to wait and see if it’s correct! I haven’t read the web comic the who is based on so I have no idea what’s coming down the line.

Anyone agree? Or really disagree with these thoughts?

Ok first real post here so go easy on me.

If anyone’s been watching the Kdrama Reborn Rich, I have so many thoughts and predictions that I’m sure are going to turn out to be hilariously wrong but I just had to vent *somewhere* so forgive me my crazy ramblings. plus it’ll be fun to look back later and see how shockingly wrong I was.

But also potential spoiler warning in case I’m right about anything, plus I’ll be referencing events in the show up to episode 11.

SPOILERS

—————————————————————

So.

THE WORLD/ TIME TRAVEL/THE RULES

I think the world Yoon Hyun-woo has been reborn into, where he is now Jin Do-Jun has elements of self fulfilling prophecy and timeline correction. My evidence? Yoon Hyun-woo’s mum and the story Yoon Hyun-woo reads in the chairman’s autobiography that he shared with him as Jin Do-jun.

Jin Do-Jun is working off of the knowledge that he has from the previous OG timeline, and as such he can only make decisions based upon this. As Yoon Hyun-woo he didn’t know that his mum had bought stock: either the family never found out after she died or his Dad didn’t tell him.

So though he went to great lengths in the ‘new’ timeline to remove the reason why his mother died in the OG timeline (trying to save his fathers job, trying to ensure his father still got worker protections, finally trading and bartering leverage so that his father wouldn’t be on the picket line protesting and being beaten up on television) in an effort to save her life, he didn’t take any steps to stop his mother buying that stock or to protect its value. He also wasn’t aware how bad her mental or emotional state was in the OG timeline, and so couldn’t have predicted she would take her own life once that stock failed. And so in the ‘new’ timeline he’s blind sighted by her suicide.

So his future knowledge is limited to things he knew, and he might not know all the information about something. In those grey areas Hyun-woo knew nothing about, things can happen or could have happened to affect change. Plus in some ways the timeline will try and correct itself: In both the OG and new timeline the mother died. Some events are inevitable.

Secondly, when the chairman goes missing Do-Jun thinks he knows exactly where he will be, due to a story in the chairman’s autobiography that he read in the OG timeline as Hyun-woo. However this turns out to be wrong: the chairman is luckily nearby but not where Do-jun expects him to be and not for the reasons he thinks the chairman would be there. When Do-Jun shares the reasoning/story he knew from his life as Hyun-woo the chairman laughs, and then states it’s a good sounding story and he will use that from now on.

So Do-Jun’s knowledge from the OG timeline can be compromised or incorrect. Plus the chairman’s statement, that he will use this PR worthy story/reasoning going forward, could explain why this was the version in his autobiography that Hyun-woo read in the OG timeline. Self fulfilling prophecy, plus Do-Jun might not necessarily have the right information.

My read on this? While Do-Jun can make small changes, the larger events will still happen as the timeline corrects itself. The changes he can make are dependant on what he knows, and even that can be incorrect. And he may even *cause* some events to happen.

EPISODE 10/11 AND THE ACCIDENT

We’re made to think that in the OG timeline this crash happened and the OG chairman and Do-Jun were killed. Due to the changes Hyun-woo/Do-Jun has made as 4-2 (befriending the driver) this didn’t happen in the ‘new’ timeline. Wether this is true or not in the OG timeline I’m not sure. But if so the ‘new’ timeline will work to self correct and events will play out as if they had died.

We’ve seen the chairman is loosing mental capacity, likely a combination of the stress of the crash compounding his chronic condition. I think (once it comes to light) the siblings will use this to question his decisions regarding Do-Jun and the succession, and act to remove him as chairman. It will be as if the grandfather *had* died, but likely much more messy and dramatic within the family (due in no small part to Do-Jun’s actions in the series so far to ruin them all). Within this messy transfer of power I think Do-jun will loose much of his power and influence in company: the siblings taking the opportunity to get revenge on him for his actions in episodes 2-10. So in regards to the *succession* it will be as if Do-Jim *had* died in that crash.

But wait! In the OG timeline Do-Jun died in that first ‘accident’. And we can guess this lead to much of the tension we see between 4 and 4 Alpha and the rest of the family in the OG timeline in episode one. And why 4 Alpha wanted to ‘know the truth about the accident’. Surely this will be changed in this new timeline due to Do-jun’s survival?

No.

I think the timeline will move to correct itself.

I think there will be a second attempt on Do-Jun’s life, by the same person as the first (at this time we don’t know if this is his cousin Jin Seong-jun or Seong-Jin’s father/ Do-Jun’s uncle Jin Young-Kim: all that has been confirmed is that it’s not Seong-Juns wife, Mo Hyun-min). In this second ‘accident’ Do-jun will survive but, realising that this family member won’t stop trying to kill him and not wanting to put other friends and family at risk, he’ll decide to allow the family to think he is dead, and continue to work from the shadows to take the Jin family down. Do-Jim will realise that with his grandfather/the chairman having been removed he has lost much of his protection within the company and family, and he might not survive a further attempt on his life.

Do-jun will go into hiding, I think only telling his CEO friend Mason Oh that he’s alive and working to take Soonyang down. And once the ‘new’ timeline’s Hyun-woo turns up at Soonyang, Do-jun can use this resemblance to move around the place practically unnoticed: why would you think it’s Do-jun who’s been famously dead for 15 years? Much more likely to be a minor employee wandering where he shouldn’t be.

In essence I think the ‘new’ timeline we are in will eventual become the OG timeline, with some small changes. Think Harry Potter time turner rules: small things can change, but the overall narrative remains.

This second ‘accident’ will take the place of the first from the OG timeline: in this ‘new’ timeline Do-Jun’s mother 4-alpha will be suspicious of foul play as she overheard Do-jun and his father confirming the first accident was an assassination attempt. This will lead to the family breaking ties with the Jin’s until 2022, when 4-alpha once again returns for answers, offering her shares in the company as a bribe for the one who knows the truth.

The second ‘accident’ and Do-jun’s supposed death will cause Seo Min-young ( the prosecutor) to shut herself off enough to become the cold and focused person we saw in the OG timeline, and explains why she has a target on the Soonyang company: in this ‘new’ timeline she also knows the first ‘accident’ was planned and so will believe that her boyfriend has been killed by his family.

And my final out there prediction….

THE KILLERS IDENTITY

The whole series the main background mystery has been ‘which family member killed Hyun-woo in the OG timeline?’.

I think… Do-jun killed himself/hyun-woo in the OG timeline, and will order the hit on the Hyun-woo in this ‘new’ timeline.

Firstly and mainly, he will realise the self fulfilling prophecy and cyclical aspect of this life. In order to go back and effect these changes, Hyun-woo has to die and in that way (violently betrayed) so that he is motivated to destroy Soonyang once he becomes Do-jun.

Secondly Hyun-woo has to die in the course of brining Soonyang’s corruption to light, so that afterwards Do-jun can reveal himself, come back into the light and revel in the groups destruction. Do-jun can’t reveal himself if Hyun-woo is still alive: they’re in essence twins. Questions will be asked and mainly by Hyun-woo himself as to why they are identical. But no one is going to suspect foul play if there is clearly Hyun-woo’s body, in the centre of an international corruption scandal, with a well documented life working for Soonyang, who can’t speak for himself anymore to contradict Do-Jun’s and explanations.

Plus as time passes from Hyun-woos death people will forget *exactly* what he liked like and only remember that he resembled the prodigal son who has just returned, Do-jun.

So yeah, I think Do-Jun will have to spend the next ~20yrs working from the sidelines and background to make small issues and problems for Soonyang and the Jin family, kind of like how he did before he was revealed as the main investor in Miracle. Lots of sneaky work and near misses, kind of a death by a thousand cuts plan. And he will set up/add to/make worse the things he knows the family will do between now and present day, so that they will be caught by prosecutors in 2022. And when that time comes the whole group and family will be taken down in one go.

Anyway, that’s my thoughts on the world, we’ll have to wait and see if it’s correct! I haven’t read the web comic the who is based on so I have no idea what’s coming down the line.

Anyone agree? Or really disagree with these thoughts?

The women of this show give me life.

Woman? Is that meant to insult me? I would return the slap, if I took you for a man.

The 13th Doctor

I’m just so happy. For a fantastic show, with all the lore, back story and potential that Dr Who has, that the new regeneration will be a woman is brilliant. And hats off to the creators, I think they did it right. When the idea first came up a couple of years ago I was sceptical in a caught off guard way. I’d never thought about the doctor being ABLE to be a woman, let alone if it was something I’d be happy with. But the writers made Missy her own character and made us love her for her own evilness and snark, for her wit and sheer force of personality. And only then did they reveal she was as once The Master. And she only got better and more complex this season. The arc with her and the previous regeneration perfectly encapsulates how a character can develop over time (now fighting alongside the Doctor instead of against him) while showing that the character can retain the same presence, gravitas and diabolical nature regardless of their gender. The scenes with those two were a delight to watch.

And now that we’ve seen that this can work and that a female Time Lord can be a powerful character I really can’t wait to see what they do with Jodie’s Doctor. What will her take on the character be (Tennant was brooding but bouncy, Smiths was a bit manic and yet dark, Capaldi's I found slightly more beaten down and world weary)? How will she interpret this change? Who knows but I can’t wait to see! Well done to the BBC for doing this and making a bold choice for the character and the show. Let’s breathe some new life into the fandom!