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Oh, let me see. Ohhh. Huh.
Well. She’s not NOT caressing Mary… I mean, presumably she’s staring at the pic to remember general memories of the friendship, including Shannon, or just, the old Lilith even, before all this weirdness and the thumb movement is either at all that or even inadvertent but. It’s a Choice, for sure.
Oh, hmm. As much as I’d love for that to be the case (I’d never deny an extra Soft Avatrice moment), I feel like she’s reaching for Mary?
I kind of love that too! That she also instinctively wants to protect Mary! Each character has a specific, distinct dynamic with everyone else (except Camila, who kind of only has one with Beatrice, lol, hoping that changes next season!), so even though Mary is the Badass, Bea still feels responsible and protective. I love that. :>
Oh, I haven’t seen that, but I can believe it! Maybe that’s why they keep writing in these scenes, heh. And like, I’m predisposed to like Perry, even, often he IS super nice to women and especially Della and Emily and Lupe and listens to them and they matter to him, but then he pulls stuff like this. They don’t have to hit such low lows to make the highs seem higher, you know?
Ooh, then they all just tied him up and dragged him off, lol. I DO love that too!
Honestly, that whole Arq visit revealed so much about Bea, starting from when she faced Lilith down in front of the others. You really get the feeling that she genuinely values her work and the order and the church and has true faith. She doesn’t want to hurt people if she doesn’t have to, never more than she needs to, she’ll take lead and send off the others when she can. I really help we delve more into her background aside from her sexuality (although that too).
Omg, lmao, I never caught that!
Her comedic timing…impeccable.
Aww, I’m glad it made you feel that way, anon! I was going to say that I didn’t think it was entirely free from homophobia, but tbh, that really had nothing to do with the main conflict, so agreed.
I think what I like about the movie so much is how much it’s for us. So often, media featuring marginalized characters has them suffering for the benefit of other people, so THEY can watch and, you know, Learn and Sympathize, and like, I understand the intention, but aside from being unsure it even works, it just means it’s for someone else. But this was entirely for us, the way they met and it jumped ahead, knowing we’d understand, the conflict as it came up, it didn’t need to be delved into detail, and then of course the ending was so much more for us than the people who need to be explained to again how bad it was for historical gays. There can be conflict and angst and tension without giving us a full dose of in your face bigotry.
Huh. You know…
Okay, like, she does alternate between staring down and looking up at Ava, but there’s a solid chunk of 20 seconds when she’s just speaking to the table in front of her and then she really does look up directly at that line
Like, given how Bea’s side of it all–her background AND her feelings for Ava–is maintext, it’s honestly possible it was deliberate?? The scene as a whole, the mix of looking up and down is probably KTY and the director making those choices, meant to convey at what points Beatrice is more thinking out loud and speaking to herself than to Ava, at what points she’s remembering, at what points she’s actually speaking directly to Ava, gauging her reaction, but this one, yeah, anon, maybe that is deliberate. Not even on the part of Bea the character, right, she’s just caught up in this all, but from the POV of the show, yeah, maybe, just maaaaybeeee.
Hahah, that IS a loophole! Just do it for everything, like, oh, you thought they’d separated? One of them had died? Nah, see, they’re totally happy, have been for the last few decades.
I mean, are we asking for just one? 😛 Though yes, this does tick a lot of those checkboxes that maybe others didn’t, especially that incredibly, unequivocally happy ending.
But I wouldn’t necessarily compare it to other movies, especially as a competition. One could also say that Carol and The Handmaiden (the other movie that tends to be mentioned in the same list) focus much more on the actual couple (aside from being considered technically better films) but surely we deserve OODLES more now that Hollywood’s finally actually starting to make them. It’s kind of funny how last year had seemed like such a banner year for historical f/f and then pretty much all of it was bad-end, though of course one of those was the very well received Portrait. Not every movie has to appeal to everyone, but the point is to have enough that everyone gets at least one. Or preferably more than one.
Not yet! But they’re definitely on my list, I hear a lot about them. 🙂