Ok, I just finished the final episode and Iâm honestly shocked by how well the psychological manipulation worked. Harsh wake up call.
I - like Carol - started feeling hopeful. I trusted the development of a possible connection derived from their previous history and the fact that Zosia changed. I believed Zosiaâs individuality was finally peeking through. And then comes the snap back to reality, and Iâm just as shocked, pained, and disappointed as Carol is.
Itâs brilliant how we get played along with her. No matter how much we know, how aware we think we are, we still cling to that hope - exactly like she does. That belief that this time itâs different.
That helicopter scene broke me. Zosia leaving her behind, then immediately going back to business, full-on hivemind mode, not even giving her a second glimpse, while Carol is clearly devastated⌠brutal. No pause. No rupture. Just function over feeling. Hard times.
And the frozen eggs detail is interesting because the show doesnât frame it as a maybe. Zosia calls them âinduced frozen stem cells,â says theyâre very fragile, but treats the outcome as a certainty if the process is followed correctly. Scientifically, thatâs still not how it works - stem cells donât come straight from unfertilized eggs without creating an embryo-like state - but the point isnât realism I guess. Itâs control. A system that works, provided you submit to it, handle it carefully, donât rush, donât deviate.
And thatâs exactly the same logic applied to Carol. Trust the process. Be patient. Donât disrupt the system.
Until youâre left behind, and the system keeps moving without you.
still thinking about raban. and how even though carol could do whatever she wanted with wycaro now and face zero backlash, she hasnât retconned anything. sheâs found a way for the story to move forward and bring raban with it, changed but not undone. especially with zosia being a representation of raban, i feel like this is telegraphing how the âcureâ will function. not a reversal, but separating the hive and moving forward, everyone having been changed by it. nothing is going to be âset rightâ as carol said but things will be set differently and the challenge will be navigating the consequences of that
i love how the manual labour carol puts into loving helen (digging her grave by hand, covering it with stone tiles, etc.) contrasts so starkly with the mechanized convenience that the hivemind (which supposedly adores her) offers
âweird and unhealthy relationship that cant be categorized neatly as sexual or romantic or platonic but has a defining air of devotion and obsession to itâ wins sound of the summer for the 13th year in a row
Alright, so Iâm mostly keeping this to the episode-specific post, rather than taking up the entire season bc I want to be able to watch the season start to finish to really think about it as a cohesive whole.
Iâll start out by just saying point blank: I liked episode 10, and I liked it as the finale for this specific season. I went in knowing that reviewers and the show runners had described it as an epilogue to the climactic moment of episode 9, so perhaps I came into it with more apt expectations, but I appreciated JPLâs capacity to break their own season-arc formula, as the typical big twist/betrayal/hurt at the close would have felt like a contrivance and a repetition (without meaningful difference, pace Derrida!).
Iâve seen a lot of folks who wanted this to be the premier of season 5, but I personally would have hated this as a premier for a few reasons. For me, the hugeness of Deborahâs choice in 4.09 and the growth it represents requires an emotional aftermath, especially given the consequences that exceed what she had anticipated (which were themselves already huge even before learning about the 18 months left in the non-compete, which she and Jimmy should have known about but anyway). As an epilogue-style finale, the elision of 8 months of time that culminates in a gasping awakening from the stupor Deborah had descended into in Singapore works well. As a premier, it wouldnât have, and I especially think it would not have landed well among the fandom (even worse than this ep did). For one, there would have been enough distance from the on-air quitting to have Deborahâs depression and her bouts of harshness toward Ava feel like emotional whiplash when many viewers would likely have used the between-season break to come to terms with this ânewâ Deborah and lose sight of who she has long been (more on that, too, later). It may thereby have landed as a kind of betrayal in a much more intense way. But at least for myself (and Iâm someone who saw this kind of partial regression as the necessary fallout of Deborahâs growth), to have this fallout neatly contained into a single episode arc when you have an entire season sprawling out in front of you would feel like a betrayal of the weight it carries. With just one episode left and following exactly on the heels of ep. 9, though, the montages work as narratively efficacious devices to unsettle the grandeur of sacrifice (sacrifice doesnât just hurt in the moment; it fucking aches in the aftermath). And now, with the ending as it is, weâre set up to start off season 5 in a really different tonal register without having to do a massive jump between episodes 1 and the rest of the season, which makes for a more cohesive arc.
Now onto Deborah⌠Iâve said it in several of my reviews, but I appreciate that JPL largely do justice (with Ava as well) to the idea that growth isnât linear. Deborah upended everything at the end of episode 9 for Ava and creative autonomy in a moment of intense moral clarity after a lifetime spent more-than-willingly languishing in the morally gray, in the world of artistry measured by success over authenticity, in the notion of feminism defined by the success of individual women, etc. I think this episode did a beautiful job of encapsulating the idea of growth that comes in painful fits and starts, and the montages worked well to illustrate it. We open with the frustration of a series of increasingly desperate attempts at finding a loopholeâattempts that lead Deborah all the way to sleazy billboard lawyersâand of course that frustration gives way to the self-isolation of a wounded animal retreating to lick her gashes in peace. Sheâs self-destructive because what self is there worth living for? She eats like shit because sheâs no longer hyper-visible on stage and camera every night. She languishes in bed because thereâs nothing to wake up for. She drinks Coke from a bottle because she doesnât find herself worthy of the pleasures of having things perfectly to her liking anymore. And we see it age her rapidly, down to the weak little cough as she walks around a cheap tourist store. Then suddenly, a loophole materializes. Itâs not growth, no, but itâs familiar, and god, thereâs something to the comforts of the well-known after the whirlwind of upending absolutely everything again and again and again (from losing her residency to doing the new hour to life on the road to late night to throwing it all out again). But those old comforts provide merely the simulacra of pleasure now. They feel good enough, but ultimately ring hollow. They satiate without satisfying. And so Deborah spirals outward, seizing on everything that could possibly fill that void. Drinking. Gambling. Touristy shit. And for a little bit, the euphoria of finally being back on stage, supplemented with the rosy-hued tint of the honeymoon/vacation, is enough. But eventuallyâŚitâs not. Especially as Ava grows less and less enamored with this life, finally culminating in the boat confrontation scene.
And now hereâs the thing. Deborah does lash out, trying to send Ava away with excuses that are only half factual. (Again, wounded animal, etc. etc. of course she does.) But itâs fucking huge that she doesnât throw it back into Avaâs face that Ava is the reason for all of this. Think about the fight at the end of season 1. Where we are now is growth, even if it doesnât feel like it compared to episodes 6 and 9. Itâs subtle, but itâs there. Because Deborah has almost never hesitated to go for the jugular, but here, it doesnât even seem to be on the tip of her tongue. She could destroy Ava, but she doesnât. She doesnât even hover on the precipice. Instead, she throws things out that sound vaguely like insults, but are just another way of giving Ava an outâa pathway toward becoming something, anything, other than Deborah when âbeing Deborahâ feels miserable as hell.
Iâm really curious and cautiously optimistic about season 5 now that theyâve set up a shift toward external tension as the narrative and emotional driver, rather than the internal tension between Ava and Deborah (not that I think things will be smooth sailing, but that thereâs no massive betrayal haunting the background of their reunion in the way it has in past seasons). Deborah on the offensive has always been Deborah at her fiercest, and Iâm excited to see the ways it may bring her back into the orbit of characters like Marcus (who seems poised to make a massive career pivot of his own, and I really, really hope JPL bring him back into the main fold and narrative focus) as Ava faces a future thatâs far less scripted than the path sheâs followed with Deborah until now.
I have a lot of smaller notes, but I kind of want to keep this as is for now. I might reblog this post later with a few of those small notes later when I have a chance to give the episode a second watch with a bit of distance.
gummygunk
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