So, you are telling me that Jaskier used to wear outfits the color of the sea in Season 1...
That he constantly complains about his feet hurting, or struggling with keeping his footing while having to wear boots (is the problem his actual boots or a lack of early practice in life?!)...
That he got all excited at the thought that Geralt might catch him a fish to eat...
That a huge part of his identity and the pride he takes in himself is tied to his singing voice and abilities...
That his songs have been described as having the power to sing a king off his clothes...
That helping his best friend in the whole wide world bathe after rubbing soothing chamomile onto his lovely bottom is typical friendship behavior to him...
That he vulnerably asked for Geralt to get away for a while with him, and head to the (west?) coast, in the hopes that he might be able to prove himself a worthy [travel] companion (works whether you interpret the interest as romantic or queerplatonic).
And then he basically implied that (returning home with Geralt?) might be what would please him most.
That the very first thing he did after Geralt returned to him and got him out of his cell in Season 2, is take off his top and jump into the freaking nearest body of water!
That he's hypersensitive to the way people on land start stinking after a while (including himself), and will openly suggest they should bathe (or downright bathe them himself)!
That he talks with animals...
That you had him fall in love with a human prince in Season 3...
... then had him sing a song about a human prince that falls in love with a siren to Ciri right before you had him go meet with said prince, share his first kiss with him, and make love to him in a woodshed!
... only to show a clip from "Sirens of the Deep" revealing that the Netflix version of Jaskier is from
Bremervoord
a.k.a. The vassal state of Cidaris and one of the places that goes the furthest west into the sea on the Continent!
Bremervoord, with an economy running primarily on pearls fishing.
Bremervoord, the place where the story of Jaskier's Season 3 song, "A Little Sacrifice" takes place...
A place where a prince (though I think it's a duke in the actual short story) meets a siren, falls in love with her, and willingly leaves his human life behind to follow her at sea.*
*according to the song, at least! And I'm not sure it ends well for the prince of the song, because that part about him sinking to darkest night sounds a bit ominous if you ask me... The book's short story has a different conclusion.
You're basically telling me that Jaskier comes from a place on the coast that goes far into the sea to the west, a place where merpeople and humans occasionally interact, and that he didn't really feel like talking about where he's from, because he felt like the only way for him to ever be able to "become himself" was to leave his home behind...
... AND YOU EXPECT ME NOT TO LATCH ONTO THAT POPULAR MERMAN!JASKIER THEORY?!
OR INSTINCTIVELY START DEVELOPING A BUNCH OF HEADCANONS ABOUT IT?
For example :
What if Jaskier keeps repeating that "he's just a bard" not because he's actually dismissing how good, influential, or powerful he is...
... but because he chose to give up his tail to permanently become a human, and he doesn't like to be reminded that he doesn't quite "fully belong" with humanity, because there's something a bit different and "unique" about his singing.
What if, growing up as a merboy, he'd kept feeling like he was born in the wrong body and with the wrong species given his brethren's attitude about singing as an artform.
What if when merpeople sing, they typically rely on pure melodies without lyrics, and argue that only humans and other species of the land - with their inferior vocal capabilities - must rely on something as primitive as words and lyrics to inspire emotions and make ideas take root into other people's minds.
What if they do have a singing speech pattern, but when it comes to artistic expression, the songs are purely melodic.
But Jaskier, after listening to some of the folk songs that the local bards enjoy singing by the fire at the beach, often accompanied by a lute or other instruments, fell in love with the way the words of those songs flow and sound.
Perhaps he revealed himself to Essi then, and that, instead of being scared of him, she agreed to show him how to play the lute, speak her language, and sing the way humans do.
And when he did fully grasp the beauty and the power of using verbal poetry into songs, he knew he could never look back.
What if Essi was the first person to ever really see him for who he was and treat him as family, hence why he loves her like a little sister.
Maybe "the Lettenhoves" are basically a group of merpeople with no actual blood relation, that lost their own families and were rejected by them when they chose to make the full transition from merperson to human.
By pretending to be blood relatives, they've managed, however, to realistically pass as a large human noble family, acquire a bunch of lands and estates over the years that is passed to each new generation that wants them, and each new member is given a certain amount of money when they become one of the Lettenhoves to begin their new life on land!
They aren't extremely close, because they each have their own lives and personal ventures (very few go into singing careers), but they are still people that understand what being a human born at sea feels like, and that will be there to offer each other help and support if need be!
And so, Jaskier was able to go study at the University of Oxenfurt and learn as much of the human world and its arts as he could!
But, while his voice remains a bit more powerful and influential than most humans that were born on land, that influence comes with a "curse"...
Most people that instinctively fall under the charm of his melodies (note: Jaskier can use his voice to make an audience more susceptible to anger and annoyance when he sings, too. An especially useful skill to have when you're relying on food being thrown at you to eat... Hence why Geralt's lack of emotional response to his singing when they met was so intriguing!) will typically only care about how they make them feel, rather than how Jaskier himself was feeling when he wrote his songs.
Geralt, Yennefer and Ciri are all immune to his siren charms - and dwarves appear to be more resistant as well - but, while his songs inspire people, and hearing him sing them "live" with his actual voice tends to make people become instantly infatuated with him (or immediately hate him, should Jaskier wish to repel rather than attract them)...
... they rarely ever see him or seemingly attempt to connect with him on an intimate, emotional level, like they would with another human being.
And so, every time Jaskier is reminded of how much influence he appears to have over how people see the world when he uses his voice, Jaskier's tendency to remind them that he's "just a bard" is because he wishes people would connect with his humanity, too, rather than what he can do.
Regardless of him being able to pass as someone that was born on land and started his life in a fully human body, he knows that his voice will always carry some remnant of his siren abilities.
And that this difference appears to be preventing him from emotionally and physically connecting with other human beings that weren't born at sea like him, the way he wishes he could.
And so, that's why he was initially hesitant to sing for Radovid, and he kept insisting that he wasn't in a "singing mood" that day.
Because he knew that, the moment Radovid heard his singing voice, he might stop listening to him and trying to connect.
But there was something in the way Radovid insisted - while asking for Jaskier to pick his favorite song and showing a sincere curiosity about listening to what pleased him most - that made Jaskier ultimately choose to risk it.
And, while Radovid was obviously affected by the sound of his voice (to the point where he felt the need to pretend his speechlessness was caused by drunkenness), it was also very clear that he'd been listening.
Not only was his gaze very sharp and his eyes clear and bright while Jaskier was singing - seemingly attempting to analyse every note and word - but, for once, the things Radovid was complimenting him about weren't related to his ability to make people feel and experience things...
For once, what Radovid was claiming made Jaskier so special wasn't the beauty or power of his voice, or how catchy the melodies of the songs he'd sang to him were.
It wasn't even about how Jaskier's lyrics had made him feel.
He'd told Jaskier that what made him so special was his ability to see people for who they really are rather than who they pretend to be.
He'd essentially told him that his ability to truly comprehend those around him was his gift - that he had a unique ability to connect with them at the core... the very thing Jaskier had always felt that he was lacking.
And when Jaskier pushed him for more, all Radovid told him was that he didn't know yet, but was determined to figure it out.
"You connect strongly with others and my desire is to understand and connect with you."
That is what Radovid had taken away from who he was, even after having heard him sing, and Jaskier couldn't help but feel like he'd found a kindred spirit in that human.
Someone stuck in a world and a birth family that simply couldn't understand and accept him as he was - constantly hiding parts of himself to survive.
Radovid had then agreed to help him with the whole situation with Rience - despite the fact that Jaskier hadn't used any song to attempt to suggest he should, just genuinely asked for his help.
And - if that hadn't been enough - that prince had gone one step even further by asking him if Geralt knew how lucky he was to have him, after Jaskier had been singing about his self-worth issues when it came to relationships and his fear of never being good enough - or human enough - for a fellow human (or mutated human) partner.
He'd been listening to him.
He might have been born on land, and he might not have been immune to Jaskier's siren abilities, but Radovid still hadn't lost sight of who he was, nor been tempted to start obsessing about owning him or treating him like a prized possession.
And so, Jaskier tentatively begins to allow himself to hope...
Until Radovid does something truly unexpected that none of his prior human, elven or dwarven suitors or lovers had ever done before...
Learn his song.
Sirens are typically immune to the power that another siren's voices carry... until they fall in love.
One of the ways to know if a fellow merperson is alterously or romantically drawn to you is to sing back one of their own melodies to them, and see how they will respond.
Should they feel that instinctive, near irresistible pull towards the melody, and vice versa, then the two sirens will often start trying to discover and explore different ways they can learn to harmonize and use their voices to complement each other's, and create new shared melodies that will resound through the sea.
And, for the very first time in his life, Jaskier finally understands how people feel when they listen to him sing.
Despite the fact that the "siren's melody" being sung back to him is a human song he wrote, with human lyrics, accompanied by human instruments...
Despite the fact that Radovid himself is most definitely not a siren but very much human - fumbling a bit with Jaskier's lute, visibly nervous, too shy to allow his voice to rise above a whisper...
To Jaskier, it's the most beautifully mesmerizing "siren's melody" he's ever heard in his existence! It's filled with warmth, love, understanding, a promise of unconditional acceptance and safety...
It's absolutely intoxicating, he can barely breathe, feels like he's on the very edge of losing his sanity, and it takes all the power he has to avoid launching himself right at him!
And if a human can make him feel this way singing back to him a song filled with poetry and lyrics - rather than a classic, traditional siren's melody - then maybe there's never been anything wrong with Jaskier or the way he's always preferred to sing!
His people made him feel unwanted, but the sea never did! It probably would have been welcoming to a lute-playing merman singing like a bard, if his people hadn't been such close-minded arses!
Jaskier feels at home on land and has never once regretted his choice, but maybe he still has a right to also be a child of the sea, regardless of him having ultimately chosen a pair of legs over his fins!
And maybe Radovid would love to see parts of his old home some day - even if they can only access the surface of it, rather than go explore everything hidden in the water's depths (unless Yennefer has a spell that would allow Radovid to breathe under water as he does. Because Jaskier would never trust a sea witch with Radovid's life!).
And if Jaskier himself can be mesmerized by Radovid's song and feel like he would let that man lead him anywhere and do whatever he wants with him, without any desire to own and control him; maybe he'd simply been trying to connect with the wrong people.
Radovid is the first person he's ever met that seems to be able to connect with both the human and the siren part of him. And when Jaskier offers to help him work on his lute playing and singing, what he's truly saying is that he wants them to learn to harmonize their voices together and create their own melodies...
It's an intimate need Jaskier still has, and he's finally found himself a mate that appears to fully get him, and be able to fulfil those needs.
Of course, then the whole mess with Cirilla happens, and for a moment there Jaskier loses faith that any of it was ever real!
Who was he kidding!? The Redanian Intelligence kept insisting that they knew everything about everyone! Maybe they'd figured out Jaskier used to be a merman, done their research, noticed that Jaskier "fancied" the prince, and instructed him to surprise him and trick him into lowering his defenses, by courting him the way a fellow merman would!
He really should have known!
But then, when he finds Radovid alone, lost, and hiding, he realizes that Radovid had never meant to trick or hurt him.
Radovid had just been genuinely afraid, and trying to deal with the threat of a looming war as best he could by seeking Ciri's help.
And now, the war he'd attempted preventing from happening had begun, he'd clearly internalized Jaskier's earlier blame, and that spoon of a man was sufficiently bonded to him by now that he might just allow himself to be captured and killed if he doesn't do something about it!
And then, Jaskier himself might end up symbolically 'washing ashore' somewhere and letting himself die of heartbreak, for fuck's sake!
Because merpeople are dramatic as fuck and they feel the loss of friends and family in a way that's devastatingly sharp. Being rejected by a queerplatonic or romantic partner - or having them die on them - is the worst type of injury one could inflict upon them!
When he'd sung about having also survived, no thanks to Geralt, he'd fully meant it! That loss had nearly killed him!
If he wants to survive this, he needs to figure out a way to keep Radovid safe, and then make sure that Geralt and the rest of his family are safe also, because he doesn't know how he'd manage to continue to live in this world if the war ends up taking everything from him in a way where all hope would be lost of ever getting any of them back!
It's so much easier to say "this house is cursed" or "this house is haunted" than it is to identify which dumbass in the process of building it fucked something up.
Carol from The Walking Dead has, in the first season, one scene that is the best example of “show no tell” that I've ever seen. Especially because this case of “show no tell” is opening a window to the intricacies of one of the most complex fictional characters I know.
I'm talking about the grenade scene at the end of the last episode of the first season. At that point the entire group is trapped in the CDC building, they are trying to get out but no one can break the reinforced windows, all the men try something different, nothing works, and then, this woman, who barely has open her mouth for the last 4 episodes (she is introduced in the 3rd episode), steps up to Rick and gives him a motherfucking grenade that she stole from him (without him noticing), and they are set free.
This scene could be important only in the fact that it saves the group that one time, or that it marks the first, but not last, time Carol will save the collective asses of the group, but if you stop to analyze it it shows so much more, SO MUCH MORE PEOPLE!
1- She has an incredible capacity for adaptability, mental flexibility, and personal reinvention. (Her entire worldview reality has changed, and in a month or so, this woman is already stealing grenades!)
2- She can be sneaky/cunning. (She washed Rick’s clothes, found a grenade on them, and KEPT IT!. This sets a huge precedent for the character)
3- She is secretive. (She took that grenade and told no one! One of her more criticized facets, and it is right there from the beginning!)
4- She has a mind for strategy/thinking ahead/seeing the big picture. (The stealing of the grenade, and she has it for 4 episodes, in the meantime part of the group goes to the city, the camp gets overrunned by walkers, they face walkers going into the CDC, but she says nothing about what she has, she is waiting for the moment it will be absolutely indispensable to be used)
5- She can make hard decisions. (Tied to point 4. That grenade could possibly have helped here and there, potentially saving people, but she makes the decision of not saying anything because she thinks those moments are not worth the resources she has)
6- She is willing to live with the consequences. (Hard decisions came with consequences. The others could have blamed her from some deaths that the grenade could have prevented).
7- She tries to always have an ace in her hand. (She will do this many many times, including having guns and knives hidden in her clothes, information, and/or people. Anything can be an ace if well applied)
8- She thinks outside of the box. (grenades are usually used to kill things. She could have decided to use it for that purpose multiple times, and the use she chose is to break a window to their freedom)
9- She does NOT TRUST completely, not even the group (she is shown as meek, as a follower, and yet, she had this piece of equipment and she is the one who decides when, where, and how to use it simply by keeping it a secret)
10- She loves fiercely. (All of these, all the things she does at this point in the story, she does them for Sophia).
11- She can be dangerous (did you forget she stole a GRENADE?!)
These characteristics (some may come from the marital abuse written into the character) create an interesting balance between selfishness and selflessness. Selfishness because she keeps secrets that could help sometimes on other occasions besides the ones she deems worthy of it. Selflessness because mostly she will use or keep those secrets to help the group at large and will live with their judgment.
These characteristics are what make her a real dark character when she takes the selfish route.
Her heart is what will always bring her back when going darkside, and what will keep her in check any other time.
From these points, you can extrapolate pretty much everything Carol does in the future seasons.
For example, points 1 and 10 are the reasons she runs or tries to run away so many times. She loves fiercely, but she also has a capacity to reinvent herself that allows her to keep going beyond her losses, and she HATES IT, she hates that she can keep on living while her heart is bleeding.
She kills Karen and David because she can see the big picture, loves fiercely (killing costs Carol), takes the hard decision, and keeps secrets, but also lives with the consequences as she immediately says “Yes” when Rick asks her directly if she killed them, there’s zero hesitation while answering, and she accepts his judgment of exile and respects it.
Every single one of these is in full deployment when she presents a persona to Alexandria instead of the real Carol.
Everything with Alpha encapsulates these characteristics in their most negative incarnation so far, and in one of the most fascinating as well, even the breaking of the deal with Negan.
Carol went off the deep end after Henry’s death, and for a moment, she didn’t care about the consequences at all. She only cared about one objective, killing Alpha. All her actions at the time are deeply disturbing and dangerous for herself and others, but she has a goal, a plan, and she will carry it to its intended conclusion, consequences be damned. She uses everything in her in the most devastating ways, her adaptability, her cunning, her secrets, her strategic mind, her capability to make the decision and live with the consequences/judgment, her thinking outside the box, an ace in the hand, her NOT TRUSTING ANYONE AT ALL, all because she loved Henry so much, and she is hurting, and she wants the thing that hurt her son GONE.
Negan is a tool in Carol’s hand, he is well aware, but later on he will understand the full scope of what Carol did and how, right after she breaks the deal with him. Not because she betrays him, but because she turns her back to him.
She turns her back to the most vicious adversary the group has confronted and walks away. You see, when Carol does that, she leaves the end of it all in Negan’s hands, and anyways that end could play out, she is damn okay with it:
- Negan attacks her and wins, Carol dies, she is okay with dying.
- Negan attacks her, and Carol wins, Negan dies. She is better than okay with this one.
- Negan attacks, but they don’t kill each other. Another day to live for both of them.
- Negan does not attack. Both have to live with the consequences of all their actions (present and past).
However it ends, she is okay with that end. I think Negan sees that. He has been played, masterfully. Now the ball is in his court, and he takes the hard path to move forward, for himself and for Carol.
The way Carol puts on play her plan to kill Alpha is the reason Negan described her as a mage in season 11. She was showing a hand to Alpha very aggressively with the direct attacks atracting the enemy's attention to herself, all the while keeping the other hand (Negan) hidden and unassuming, cunningly completing the magic trick of killing Alpha. Have you all forgotten? This woman is dangerous!
In conclusion, the grenade scene is a fantastic example of showing a character's complexities and possibilities. It has also been masterfully developed over the years. Most, if not everyone, of Carol's actions can find its precedent in this one little scene in season 1.
