inej and kaz having issues with touch due to trauma. kaz and wylan drowning and being reborn in the ketterdam harbor. wylan and jesper feeling like they have to hide a part of themselves due to their fathers. jesper and nina being grisha with addictions. nina and matthias being raised as a weapon rather than a human. matthias and inej being deeply religious. inej and wylan making themselves smaller because of the abuse they suffered. wylan and matthias being forced into a life of crime. matthias and kaz losing their parents and siblings. kaz and jesper being thrown into the barrel because of reckless behavior involving money. jesper and matthias being taught from childhood to be afraid of grisha power. all of these characters being so different yet so similar and forever interconnected with each other because they know that no one else will understand
need to string together my thoughts more on this but reeeeeally interesting to see the influx of media - severance, the substance, mickey 17 - centered on the idea of a double/expendable iteration of yourself.
the dehumanization of workers by the way of non-livable wages, unsafe working conditions, and identity based discrimination (and the current removal of dei initiatives), all drive a wedge between our personhood and the value we are prescribed as a member of the workforce. something something the effects of ai and deepfakes already putting people in danger, the way we live and present our lives online vs in reality, there’s a lot to unpack here. but it’s fascinating to see this trope so widely translated as a storytelling vehicle for these ideas, and that this is the story that people are interested in telling.
i read donald sutherland’s letter to gary ross pleading for the role of president snow and was so struck by his eloquence, wit, and humor. i’m posting it in full below. what a loss </3
Dear Gary Ross:
Power. That's what this is about? Yes? Power and the forces that are manipulated by the powerful men and bureaucracies trying to maintain control and possession of that power?
Power perpetrates war and oppression to maintain itself until it finally topples over with the bureaucratic weight of itself and sinks into the pages of history (except in Texas), leaving lessons that need to be learned unlearned.
Power corrupts, and, in many cases, absolute power makes you really horny. Clinton, Chirac, Mao, Mitterrand.
Not so, I think, with Coriolanus Snow. His obsession, his passion, is his rose garden. There's a rose named Sterling Silver that's lilac in colour with the most extraordinarily powerful fragrance — incredibly beautiful — I loved it in the seventies when it first appeared. They've made a lot of offshoots of it since then.
I didn't want to write to you until I'd read the trilogy and now I have so: roses are of great importance. And Coriolanus's eyes. And his smile. Those three elements are vibrant and vital in Snow. Everything else is, by and large, perfectly still and ruthlessly contained. What delight she [Katniss] gives him. He knows her so perfectly. Nothing, absolutely nothing, surprises him. He sees and understands everything. He was, quite probably, a brilliant man who's succumbed to the siren song of power.
How will you dramatize the interior narrative running in Katniss's head that describes and consistently updates her relationship with the President who is ubiquitous in her mind? With omniscient calm he knows her perfectly. She knows he does and she knows that he will go to any necessary end to maintain his power because she knows that he believes that she's a real threat to his fragile hold on his control of that power. She's more dangerous than Joan of Arc.
Her interior dialogue/monologue defines Snow. It's that old theatrical turnip: you can't 'play' a king, you need everybody else on stage saying to each other, and therefore to the audience, stuff like "There goes the King, isn't he a piece of work, how evil, how lovely, how benevolent, how cruel, how brilliant he is!" The idea of him, the definition of him, the audience's perception of him, is primarily instilled by the observations of others and once that idea is set, the audience's view of the character is pretty much unyielding. And in Snow's case, that definition, of course, comes from Katniss.
Evil looks like our understanding of the history of the men we're looking at. It's not what we see: it's what we've been led to believe. Simple as that. Look at the face of Ted Bundy before you knew what he did and after you knew.
Snow doesn't look evil to the people in Panem's Capitol. Bundy didn't look evil to those girls. My wife and I were driving through Colorado when he escaped from jail there. The car radio's warning was constant. 'Don't pick up any young men. The escapee looks like the nicest young man imaginable'. Snow's evil shows up in the form of the complacently confident threat that's ever-present in his eyes. His resolute stillness. Have you seen a film I did years ago? 'The Eye of the Needle'. That fellow had some of what I'm looking for.
The woman who lived up the street from us in Brentwood came over to ask my wife a question when my wife was dropping the kids off at school. This woman and her husband had seen that movie the night before and what she wanted to know was how my wife could live with anyone who could play such an evil man. It made for an amusing dinner or two but part of my wife's still wondering.
I'd love to speak with you whenever you have a chance so I can be on the same page with you.
They all end up the same way. Welcome to Florida, have a nice day!
sourced from this article
i wonder how many people don't even know this exists yet (i was today years old)
oh how i love when actors understand their characters so much they can write about them!!!
plus, i just read tbosas and i'm convinced suzanne and donald have had a talk or two
white lotus is insanely good at showing capitalism and the state of western society as a prison that it is. the entire point of this ep was i think that so many characters got so close to breaking out of the cycle only to end up stepping back into the cage of it, locking it after themselves, and willingly throwing out the key.
piper, who like so many young people saw the injustice of the world and felt helpless in the face of it. wanted to give up her privilege and get away from her family who represented everything she hated only to let those values she resented pull her back in. the desire for comfort, the privilege of watching the world end from your comfortable seat at the top, the practiced line of “if we don’t enjoy what we have it’s a waste”. that was her breaking point and she will never go back. 30 years and she’ll be undistinguishable from her mother.
gaitok, whose story mirrors piper’s so closely in how he rejects his entire worldview because barely anyone is strong enough to uphold it in a system that will break you if you try to oppose it. to have once felt so helpless in the face of evil and to side with it since you can’t defeat it. to be pushed to find the violence within yourself when all you ever wanted was to treat the world kindly.
belinda, whose formative experience was being wronged by a millionaire, to have money and convenience prioritized over her, to experience the fickleness and complete lack of backbone of someone who has enough money to afford to have no morals. and to give up everything she believed in, all qualms about greg’s blood money, all dreams grounded in the reality of mortals to advance up to the realm of the wealthy. and to repeat what was done to her with the exact same carelessness and fickleness. to be so swept up in money that pornchai immediately becomes just inherently lesser to her.
rick, who had plans to kill the man who murdered his father and didn’t go through with them only to see that man again and get enraged by his words, again, and still, choose to control himself. he did not believe in therapy for a second at the beginning but, when everyone thinks he gets up from the table to give into murderous impulses, he actually seeks out mental help. only to be denied. to be denied when he comes to the therapist with tears, begging, willing to change and willing to believe in a better future he wants, needing just one chance, just someone to talk him through and believe in him in return. only to be turned down because another appointment is already scheduled. because the customer is king and because there is a line to wait in. he can’t take a chance he’s never given in the first place, so he reverts. the cycle never breaks.
laurie, who stays with the friends who make her miserable. lochlan, who drinks the seeds following in his family’s footsteps again but lacks conviction to fully commit, even in death. i could go on.
nothing ever changes. the status quo remains and the cycle continues and the wheel is never broken. you can never escape and, if you’re the one who the system benefits, why would you want to in the first place? lock your cage, throw the key away and enjoy a piña colada that won’t kill you anyway while the world burns.
what if in trying to kill the man who killed your father you become the man who killed your father and what if when you finally get the money to start your business from the husband of the woman who screwed you over you screw over someone else the same way and what if when you try to kill most of your family and then change your mind and spare them you end up almost killing the one son whom you wanted to spare and
AAAAAAAAA
