And then, my very favourite scene of the whole episode ... It’s the last moment of true connection that I think we ever really see between them, and I think it’s so fitting that it doesn’t involve any words – at this point, everything they say to each other is a manipulation, a lie, a betrayal, an affirmation that their loyalty doesn’t belong to each other and never can. And so, for this little moment, they’re just quiet.
This is also my favourite scene from 2.12, and I lovelovelove what you brought up about them being at a point beyond words. This is probably really cheesy, but I have a whole long playlist of every song that even vaguely reminds me of Guy/Marian, and I've been listening to it quite a lot over the past few days. In the space between 2.11 and the finale, I was attempting to work it into a shareable fanmix rather than a confused jumble of my brain, and I kept coming up with something that seemed too angsty (LOLOLOL at my past self! IF I ONLY KNEW!!!); but one song that I really latched onto was Elvis Costello's Lipstick Vouge (http://www.elviscostello.info/lyrics/tym.html#lipstick_vogue), and now I am just playing this line over in my head: "There are some words that don't allow to be spoken." Because... yes. That is so very much the two of them in this scene.
Armitage, of course, just beautifully shows how devastating this idea is to Guy; it isn’t really menacing, even, just desperate and sad.
I've been playing around with the idea of how Guy would have reacted to Marian's "I love Robin Hood, I love Robin Hood!" broken record if it came early in the episode. Both here and at the very beginning, when he asks her if she has anything else to share with him, I kind of got the weird feeling that... he almost wouldn't have cared. Or, well, wouldn't have impaled her with the nearest pointy object, at any rate. In their opening scene, I felt like he thought that if he could work past her being the Night Watchman, he could work past ANYTHING, and was ready to deal with the possibility of her and Robin. And then, here... I think maybe he just wanted a reason for her betrayal, a way to make sense out of how things had fallen apart between them so quickly. He needs to know what he's been holding onto before he can let it go.
Which makes Marian’s proposal an insult, almost, more than anything. ... there’s nothing behind it, and Guy senses that.
This is how I read the scene as well. The marriage Marian offers him at this point is simply not enough. It might have been back in season one, but I think the brief glimpses of some growing affection for and trust in him (BECAUSE NO MATTER WHAT I WILL NEVER EVER NEVER BE TALKED OUT OF THIS OPINION) gave him a taste of something more to hope for in their relationship; it would now be humiliating and degrading to both of them to settle for less.
she’s not stirred by him, not anymore. I think it’s interesting to contrast this scene with the one in 2x03 – in both of them, she reaches out, offers herself to him, but the 2x03 scene is so characterized by heat and intimacy and desire, and this one’s completely the opposite, with everything sparse and cold.
Oh, goodness. I am so ridiculously obsessed with this type of thing, as I'm sure I have already shared in other flaily comments. The desert surroundings, and then ESPECIALLY the fountain in the background of the stabbing, are both settings resistant to fire; both sand and water are used to smother out flames. The transition from glowing and alive and intimate to cool and stark and monochromatic, is just... guh. Gorgeous. I've spent so much time hating on the writers that I feel I need to take a moment to profess my love for the art department.
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timeasmymeasure
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Date: 2008-01-01 04:58 am (UTC)This is also my favourite scene from 2.12, and I lovelovelove what you brought up about them being at a point beyond words. This is probably really cheesy, but I have a whole long playlist of every song that even vaguely reminds me of Guy/Marian, and I've been listening to it quite a lot over the past few days. In the space between 2.11 and the finale, I was attempting to work it into a shareable fanmix rather than a confused jumble of my brain, and I kept coming up with something that seemed too angsty (LOLOLOL at my past self! IF I ONLY KNEW!!!); but one song that I really latched onto was Elvis Costello's Lipstick Vouge (http://www.elviscostello.info/lyrics/tym.html#lipstick_vogue), and now I am just playing this line over in my head: "There are some words that don't allow to be spoken." Because... yes. That is so very much the two of them in this scene.
Armitage, of course, just beautifully shows how devastating this idea is to Guy; it isn’t really menacing, even, just desperate and sad.
I've been playing around with the idea of how Guy would have reacted to Marian's "I love Robin Hood, I love Robin Hood!" broken record if it came early in the episode. Both here and at the very beginning, when he asks her if she has anything else to share with him, I kind of got the weird feeling that... he almost wouldn't have cared. Or, well, wouldn't have impaled her with the nearest pointy object, at any rate. In their opening scene, I felt like he thought that if he could work past her being the Night Watchman, he could work past ANYTHING, and was ready to deal with the possibility of her and Robin. And then, here... I think maybe he just wanted a reason for her betrayal, a way to make sense out of how things had fallen apart between them so quickly. He needs to know what he's been holding onto before he can let it go.
Which makes Marian’s proposal an insult, almost, more than anything. ... there’s nothing behind it, and Guy senses that.
This is how I read the scene as well. The marriage Marian offers him at this point is simply not enough. It might have been back in season one, but I think the brief glimpses of some growing affection for and trust in him (BECAUSE NO MATTER WHAT I WILL NEVER EVER NEVER BE TALKED OUT OF THIS OPINION) gave him a taste of something more to hope for in their relationship; it would now be humiliating and degrading to both of them to settle for less.
she’s not stirred by him, not anymore. I think it’s interesting to contrast this scene with the one in 2x03 – in both of them, she reaches out, offers herself to him, but the 2x03 scene is so characterized by heat and intimacy and desire, and this one’s completely the opposite, with everything sparse and cold.
Oh, goodness. I am so ridiculously obsessed with this type of thing, as I'm sure I have already shared in other flaily comments. The desert surroundings, and then ESPECIALLY the fountain in the background of the stabbing, are both settings resistant to fire; both sand and water are used to smother out flames. The transition from glowing and alive and intimate to cool and stark and monochromatic, is just... guh. Gorgeous. I've spent so much time hating on the writers that I feel I need to take a moment to profess my love for the art department.
(And one more part to come...)