#overthinking jen is overthinking

[beautifulhigh]

Another day, another thought, I guess this is my life now.

So last night I was reading this article in which Matthew talks about making the film and the staging of the Paris sex scene. And it struck me how much work and attention to detail was given to this moment:

Which yes, others have talked about what is placed around the room but I'd like to present exhibits B and C:

The other times we see them in bed together, Alex is on Henry's right. Protocol or his good side? (Both?) Because that's your place when you're with a Royal.

But in Paris they're the other way around. Henry is on Alex's right. That's his place. That's where he belongs. In this moment he's not Prince Henry, he's Henry Fox. He's just this guy who is in love with this other guy.

At the DNC hotel they're mired in politics. In Kensington Palace they're in the monarchy. But in Paris? They're just them. Not so much Firstprince as... some other pormanteau. Helex? Alry? Anyway. They're them in Paris and it's as close to neutral ground as they can get and I find it interesting that Henry is on Alex's right when every other instance in his life he has people on his right. He never gets to be the person on the right. He never gets to defer to someone who isn't in some line of succession.

But with Alex? He does. He defers to him (and no this is not a comment about sexual positions) and he isn't pushed into the circumstance and rules of a situation he was born into without any choice or say in the matter. He can just be himself without the need to maintain an image or a sense of duty or adhere to some archiac institution. He's on someone's right.

(He's also put Alex on his non-good side. He's showing that part of himself to this man because he loves and he trusts him and he knows he is safe to do so. That's something else I'm feral over.)

And given how much attention was paid to the staging of Paris you will not be able to convince me that this wasn't deliberate. Matthew López himself could come into my Tumblr inbox and deny it and I wouldn't believe him.

[beautifulhigh]

The smallest of looks is the loudest moment in the room

Just a little one from me to save me from going insane and to sate my followers...

ZAHRA: How long has this been going on?

Alex is focused on Zahra, Henry is staring off into the middle distance until Alex answers her.

ALEX: Since New Year's.

And it's that Henry reacts to. Have a close up.

Henry's gaze flicks to Alex. In this exact moment (1 hour, 5 minutes, and 41 seconds), he looks at Alex for a few seconds.

This is the moment Alex has put a start date on this thing between them.

It's a little more certain here than it is in the book:

"How long has this been happening?" "Since, um, New Year's." (page 233)

The placement of that "um" holds meaning for me - in the book Alex is hesitating before he pins a start date on him and Henry. He's trying to figure it out and that's what he goes for. Because how long has it been going on? Since they started sharing intimate thoughts and fears? Since they increased the benefits they had added to their friendship? Since the Red Room?

Nope. Alex goes for the moment when the possibility between them changed and he completely ignores the weeks of silence that happened straight after. The period of time in which Henry was full of fear over what he'd done, what Alex might do. In the book we know he runs scared, going on a public date and being photographed.

If there was a prince, and he was gay, and he kissed someone, and maybe it mattered, that prince might have to run a little bit of interference. (page 125)

We don't have anything like that in the movie but we do have the silence. We see Henry's fear when he comes into the Red Room. Not just because of the line he crossed with Alex but because he has exposed himself and his most closely guarded secret, a glimpse of his true self.

He will know that Alex isn't going to out him - they've spent long enough talking and getting to know each other for that to not be Henry's fear. And if he was then it would have happened long before the State Dinner. Henry's fear is about losing Alex, losing the friendship, losing that connection with the boy he's wanted since the Olympics/Climate Conference.

I'd put money on Henry promising himself, once upon a time, that he would never do anything to risk losing what small pieces of Alex he could have in his life. And when they start up this thing he goes in thinking that this is all he can have, all he will get.

"I thought I could have some part of you, and just never say [I love you], and you'd never have to know, and one day you'd get tired of me and leave, because I'm--" (Page 272)

Henry didn't think he would have all of Alex, at least not anything of import, that Alex wouldn't be as far in as Henry is. And yet here he is in this hotel room, declaring they have been this thing since that kiss. Since before they properly made out in the Red Room, went down on each other in Alex's bedroom, talked about "keeping things casual" before embarking on the most insanely devoted shag fest known to mankind.

Alex has been in since New Year's and he tells Zahra just that.

In the movie he is more decisive. (Just like the instant "No" when Zahra asks if it would make a difference if she asked them to stop.)

Since New Year's. Since the moment Henry kissed me and I became unable to think about anything else except doing it again. And doing other stuff.

And even though Henry ghosted him right after, even though the next thing Henry said to Alex after his apology and disappearance into the night was another apology for his behaviour, Alex has labelled that moment, that kiss, as their start.

The moment when Henry was brave.

And in the movie we get to see Henry's reaction to that. They've been discovered, things are about to blow up in a way they can't control, and Alex says that as far as he's concerned this thing between them has been going on all year.

Before the emails. Before Paris. Before the State Dinner. Alex has been Henry's since New Year's and this is the moment he finds that out.

[beautifulhigh]

It just occurred to me that the polo scene doesn't get much love as it should. I know it's very short but just the thirst in Alex’s eyes, the way you can see his mouth dry while watching Henry ride that horse and his oh so sexy smile. I feel like that scene required a major dissection, and no one does it better so I came calling.

You know what? I'm doing this one now. I know I said I would do a meta on Henry Fox and I would do a meta on the New Year's Eve party but this is in my inbox now and yeah, let's talk about the polo scene.

(I'm also doing this now so I don't have another thing on my To Do pile, and your kind words made my shitty day a little better so thank you.)

Short scene, not a short meta.

In the book when he and Henry are in his bedroom, Alex has this little moment of clouds parting, sun beaming, angels chorus revelation:

In an instant of sudden, vivid clarity, he can’t believe he ever thought he was straight.

And while movie!Alex doesn't have the same bi awakening that book!Alex does. this is very much his moment of "oh I am very not straight at all" and that is valid of him.

(As this is a Jen meta, we shall also be talking about everything else because you do not analyse a text in isolation.)

This interview talks about the editing of the polo match:

Nick [Moore], my new editor coming in, took a look and he says, “I wanna try something with that polo match.” He spent a weekend of his own time doing something, and then he was ready to show me. He sat me down and said, “I’ve done something crazy.”

And we went from filmed scripted scenes and a lead in, to "bagpipes intensify" and it works SO well for where these boys are in this new stage of their relationship.

Our establishing shots are of the teams, the horses, the uniforms. This is Henry's world and Alex is about to step into it (which is a reversal of Henry at the NYE party - I swear I will write that meta once I have all the gif posts I want to link to) and it's all quick cuts and sharp transitions and moving shots. The pace has been set for Alex to enter.

We pick him out in the crowd but he's lost as quickly as we spot him. He's one of many here and it's all too quick to stay with him.

Firstly, you will never convince me that he didn't pick the tightest trousers he could find. Henry's comment about him being a mouthful is foreshadowed, right there.

ANYWAY

He walks in, he's looking around, he's doing up his jacket as a form of protection. Alex is the proverbial fish out of the proverbial water (and I have a meta about water if you're interested) and we're straight back in with the quick edits. Horses, polo sticks, this is not a game most people know how to play. Alex certainly doesn't. He's doing up his jacket and he is uncomfortable.

He is not a stranger to a suit, and that is certainly not something that is ill fitting. It is circumstance, not clothing.

And then we get our first clear shot of Henry. Only it's not clear, not at first. He literally comes into focus.

Stick aloft, mouth open, like he's a walking riding metaphor.

And Alex's face changes.

Yeah. He is definitely not straight.

From then on we stay with Henry. We, in Alex's viewpoint, have found him. And so we track Henry through the game and it's just generic horse legs if we're looking at anything else. The only player we/Alex see is Henry.

Here, Henry is leading. Going in first, checking it's clear, knowing Alex will follow him. Henry leads, Alex follows. Into the garden, into the bed, into the sexual component of their relationship. Alex admits to Henry right from the start that this is new to him:

“I’ve, uh,” Alex begins. “I’ve never actually done this before.” “Alex,” Henry says, reaching down to stroke at Alex’s hair, “you don’t have to, I’m—” “No, I want to,” Alex says, tugging at Henry’s waistband. “I just need you to tell me if it’s awful.” Henry is speechless again, looking as if he can’t believe his fucking luck. “Okay. Of course.”

When it comes to being with a man? Henry leads, Alex follows.

And then the pacing and editing kicks off. We intercut to the tempo of the bagpipes between the match and the hook up and Henry is leading the charge on both.

He's in charge and Alex is LOVING it:

Turns out being on the receiving end of Henry’s royal authority is an extreme fucking turn-on.

This is risky and the most dangerous thing they have done so far. Amy walking in on them in the Red Room is one thing - book!Alex is VERY thankful for the staff NDAs when it comes to what they know about him and Henry - but neither of them care here. And Alex is very much letting Henry take the lead and set the pace.

Which, given how long Henry has wanted Alex, wanted this, and how he's not able to live and love (at this point) as openly as Alex is, giving Henry this control means that not only can Alex continue his education in this mlm era of his life, but he's giving Henry all of the freedom he can. God Bless America or something.

We intercut the make out scene with shots of things being hit, the hard slamming of one thing against another, of riders in saddles. The hands may be a metaphor for sex in the Paris scene but we have it here as well.

Alex is fully on board by this point and he's not letting Henry set the full agenda. In his White House bedroom we got the scene of Henry going down on Alex (and there is no way that it was a one-way exchange given how long they were there) so now? It's his turn.

My favourite editing choice?

We then cut to Henry's arse bouncing in that saddle. If the Paris scene is making love? This is them fucking. Henry is bouncing away, riding for all he's worth, chasing down his singular aim with precision and determination.

It's innuendo at its finest.

I love this shot. We're looking up at them - we're just like Alex who is now looking up at Henry due to his new vantage point (#NoLongerTaller) - and we see Alex is fully crowding up into Henry's space. And they are right by the door. There is no cover, no escape. Anyone coming in has fully caught them. Please let there be a PPO or a Secret Service be just outside. Please. For their sanity if not mine.

But even if there isn't for some insane reason, they don't care. They are so lost in each other, so caught up in this moment, that they aren't FSOTUS and the Prince Of Wales. They aren't boys with status and expectations. They're just two consenting adults who are testing the boundaries of what public indecency actually means.

They are really going for it now. Henry's arm is tensed with the effort of keeping Alex close, his hand is splayed on Henry's back to give him contact with more of him. They are not letting go. Diving all in like it's a nod to the Olympic event where they met in the book.

And when they come up for air it's because Alex is... well... about to go diving.

Those fingers make VERY quick work of the belt and what he is doing with his hands and those fingers is further evidence in the "this is them fucking" category.

And then the frame which I'm guessing inspired Cordelia's ask to me:

LOOK AT THAT FACE. Look at those fucking eyelashes. But Alex is wanting and he is wanting hard for Henry. Pun intended. He's got a plan for this, he's got a To Do list for those Very Bad Things he promised/threatened Henry with all those weeks ago.

And it will have been weeks. The State Dinner was around February time based on the texts (end of January at the latest) and then Henry says the polo match is "next month" (which would put it end of February, early March because we would not say 'next month' if it were next week, regardless of when the month starts) and so it's been weeks since they hooked up in Alex's room. Weeks of having to just text and email and maybe venture into video calls.

None of that would compare to being together.

This is the first time that Alex has gotten his hands on Henry since his bedroom and he's desperate to get more than his hands on him.

And this shot as Alex pulls Henry's trousers down is fucking pornographic. Matthew López, did you direct Nick to act like this or was it his choice? Go watch his expression as Alex is pulling the offending clothing out of the way and tell me that this isn't pornographic.

And then we cut to the not-at-all subtle shot of Henry well, making the shot. With ease and power and the ball shooting out of frame. Something something orgasm metaphor something release.

There's even a little wisp as he makes the shot. If this post isn't flagged for mature content I'll be surprised.

Next shot?

Congrats on not getting caught, on the sex, on the most smut-filled-while-almost-fully-clothed-sex scene I've ever had the joy of frame-by-framing through.

Alex is doing up his tie again but he's not uncomfortable. And Henry is so fucking happy I could cry. Because he just hooked up with this guy, in semi-public, and got away with it. They are firmly in Henry's world here, a world where he can't be out and proud, and he got to have something he wanted. And, maybe crucially, no one knows about it. His privacy is intact.

But more importantly, this thing he's got with Alex is something. It's not a one night stand. Alex came here specifically for him, because he asked him to. Because Alex wanted to see him, be with him. This wasn't an obligation, this wasn't something set up by anyone for show and to do damage control. This was for them, and them alone.

Look at these smug bastards. Look at them. Gettin' their rocks off and making puns about being hungry and eating like they didn't just devour each other.

BUT

I gotta bring the feels here 'cause it's me.

Henry attended the State dinner because he was expected to, because that was in place before the New Year's kiss. It was an obligation and in both the movie and the book he had been ghosting Alex. And then Alex grabbed him in the Red Room and they hooked up and at the end of that scene Henry nervously asks Alex if he wants to be his guest at the polo event. Alex doesn't actually say yes - he says he doesn't know how to play polo, there's a comment about it being safer if he's on the sidelines - but leaving aside any fear that he would stand Henry up this is the first time they have made plans with the intention of seeing each other, of being together in this way.

This is, for want of a better term, kinda like a date.

Alex turned up, Henry put out, and they're very much committing to seeing where this path will take them. (Forever. It'll take them to forever.)

Alex isn't straight, Henry is very much in love, and they're embracing that giddy phase of a relationship where you just can't keep your hands off each other. And we fade from this to Paris where they're on another kind of date and then there's another kind of sex scene and it's a speedrun of their relationship on screen like they weren't indulging in foreplay with all the text flirting.

Which, by the way, don't think I didn't notice that Henry's jersey number was 4. Four-play indeed.

(Thanks for this, Cordelia, I needed something like this to soothe my brain.)

[beautifulhigh]

I have another observation and meta post on the film and its staging. Do people want to hear it? Are you sick of me yet?

Don't care, my blog, you're getting it anyway.

So. Paris.

"The key stays on during sex." Yes. Lolz.

But.

That's the key to his family home, and he took to wearing it when they moved into the White House. It's not a massive extrapolation to say that it's a way for Alex to feel connected to that home, to his roots.

I have already talked a bit about how this movie has staged and sequenced the different parts to show how they fall into their forever, there's the kind of structural choices that make this ex-English teacher go absolutely feral, but it's the framing of this which is what I would like to talk about this Sunday morning.

Because look at where that key is. Look how it is framed.

It is front, centre, and pointing right down at Henry's chest.

If you're looking for a bigger metaphor that Henry is Alex's home then you're not going to find it elsewhere.

The key is between them the first time they make love, it hangs down from Alex's neck, aimed directly at him. I talked about the significance of the key before, how because of Alex Henry gets a key and a home and all that means. But Alex is wearing that key while in the White House because it's his family home. Because he knows the White House won't be his home forever. So he has that key as a reminder, as a link back to his roots.

And it is framed, so perfectly and clearly between them. That is a choice, that was deliberate. If Matthew hadn't wanted it on show Alex would have taken it off or slung it around his back to get it out of the way. So the fact it's there, hanging perfectly straight (ha) down and pointing at Henry's chest, at his heart? It means something.

It means everything. Alex's home won't be the White House for much longer. And while the home in Texas will always be there for him? From Paris onwards that isn't it. Home, as they say, is where the heart is. Alex's key to his family home points to where his heart is and from this point on neither of the boys can deny that what they have is big and real and terrifyingly brilliantly forever.

And yes, he gives that key to Henry after the storming of Kensington Palace but...

Look at what's on Alex's nightstand. Here. Lemme give you a close up.

He takes the key off. After that first time (at least) he takes the key off and places it on the nightstand. He doesn't need to keep a reminder of home with him because he's already learning, already discovering that Henry is his home now. His home, his heart, is in that bed, curled into his side, learning about his history and his hopes and his dreams and why he does what he does because of what it means to him. After Paris Alex opens up to Henry in the biggest of ways possible, wanting to show him his life and his home State and share insignificant moments with him.

Alex is building a new life, a new home for himself post his mom's presidency.

And the key literally pointed him in that direction.

[beautifulhigh]

Hi hi!! It's unfair of me to ask you to actually write the full essay on the rwrb red room kiss scene, but I saw your tags and am very interested in at least what the main thesis would be, if you feel like sharing!! No worries if not 😊 Have a good night/day/whatever time it is where you are!

The last few weeks have been, well. They've Been™ and I'm going to use this wonderful ask to dust off my overthinking tag and write a meta post on this movie, these boys, and then hope more than three people care what I have to say.

The Red Room kiss scene is Iconic™ and Important™ and in this essay I (really) will discuss agency, framing, and why it always had to be Alex to be the one to make the move.

While book!Alex takes book!Henry to the Red Room, here he's waiting. Bundle of nervous energy. He doesn't know what to do with himself, how to hold himself, how to present himself when Henry turns up. He's backlit in this (which is a theatre technique, I see you Matthew) but it also adds to the drama and tension of the scene.

The (in)famous painting of Hamilton, about to bear witness to things.

We jump cut between Alex trying to find... something. Here he is realising his shirt has come slightly undone and he wants to try and be somewhat presentable. At least for the moment. But it speaks to Alex's physicality in this scene because he is shifting and moving so much that his clothing is shifting. There's also an interpretation that this suit represents the formality of the situation - the Prime Minister's dinner, at which he (the First Son) and the boy he wants to kiss (the actual Prinec) are supposed to be front and centre and the picture of formality.

He's coming undone in this moment because he's the First Son and he's waiting for the Prince, but he's also Alex and he's waiting for Henry.

Ah, yes. The casual lean against the wall. Fancy seeing you here, your Royal Highness, what do you think of the menu? But there's grounding here too. When you're spiralling focusing on a physical point of contact between you and and something can help ground you.

It's also a defensive stance in a way. You shall not pass, I'm not moving. Alex is claiming space and territory and he's controlling it.

"How dare you fucking kiss me, run away, ghost me, then walk into the White House like nothing changed." This is closed off, defensive, protective - probably why it's the quickest of the poses to be dismissed. He's got his back against the wall like he's scared or ready to come out fighting. And, in a way, both of those are true.

Book!Alex is mid-crisis on his bisexuality and while he logically knows he is very much into Henry, he's not gotten to the point of turning theory into reality.

Movie!Alex is more chill about being into guys, but this attraction to Henry is confusing him. He hates the guy. He wants to punch him in the mouth. With his mouth.

(What? That's literally book canon: and if he weren’t already hell-bent on destroying Henry’s infuriating idiot face with his mouth right now, he would consider doing it with his fist.)

Casual lean against the table, less staged and jarring than the extended arm against the wall.

But then Henry walks in and Alex stands to attention and he is... rapt. He is calm and composed and he is focused. We're back to the back-lit position which helps frame him with a near-halo effect.

And you can see that he is relaxed. There's a slight drop in the jaw, his shoulders are sloped and rounded. Because none on what he was trying to convey before matters. Henry is here.

"Look" he starts with - he's expecting a fight. He's expecting Alex to go off on one for the kiss, for the liberty taken. Even if Alex is willing to forget that it ever happened, take Henry's secret to the grave, Henry gets one thing right in this.

"my behaviour was appalling"

Because it was. Look, Hen, I love you and I'm with Alex in the feeling that I will go to war for you to see you happy and safe. But you did kinda kiss him without consent (harsh reading) and you did ghost him without apology (soft reading) and for a boy raised in the Royal Household that... well... it's pretty much top items on the Very Bad Behaviour list. He did not act with decorum or dignity, he did not act in the way that his status and position demands.

(That's OK, Hen. Because the boy under the linden tree wasn't the Prince. It's OK to not be him, and Alex is going to spend the rest of his life loudly loving the man, not the prince.)

"Shut up, stop talking." // “Shut up, shut all the way up, oh my God,” Alex hisses

Because even though both versions of Alex said he wanted to talk to Henry, in the moment that's the last thing he wants to do. And actions speak louder than words, right?

Why it had to be Alex

Henry needed to make the first move, that New Year's kiss, because there needed to be something to make Alex realise that this thing he's feeling is very much reciprocated, and that Henry wants it too. If Alex had kissed Henry for the first time on New Year's Eve/Day then it would have been too much of a leap. Alex, at whatever stage of his bisexual journey, has no clear idea of Henry's orientation at that party. It's only with retrospective viewing that he realises that Henry was low-key flirting, and that the sharing of these deeply personal moments wasn't just a "two bros in a hot tub" thing.

So Henry had to kiss Alex first but then he had to run because there was no way that the mostly-closeted, private Prince could accept that a) he fucking kissed a boy, b) said boy is the one he's been dreaming of since Rio/Melbourne, and c) the boy kinda?? kissed him back?? Henry will have been having a low-grade anxiety attack all through January (and trying to reclaim some control with the date he went on in the book).

In this moment, Alex knows all the pieces. He's played this logic game to its conclusion and he knows all the facts. 1) Henry is gay. 2) Henry is into him. 3) He's into Henry. That last fact is something Henry isn't fully aware of (or at least can't bring himself to believe it to be true) and so it has to be Alex.

He doesn't want Henry to say something that would get in the way of this, doesn't want to hear any kind of pre-prepared speech of "yeah, we're better off as friends" that always happens when the couple get too close to getting together too early in the run time. Alex is full on shutting that down, shutting Henry up, and he gives as good as he got.

"Wait a minute" // Henry’s too shocked to respond, mouth falling open slackly in a way that’s more surprise than invitation, and for a horrified moment Alex thinks he calculated all wrong, but then Henry’s kissing him back, and it’s everything.

And this time it's both of them. Framed between Hamilton and the books. The American political trailblazer and the literary. In the space between? There's our boys.

Alex's hand is on the wall again and he's controlling the space but Henry is very much in it. He's protective but in a different way.

In one frantic motion, Alex knocks the candelabra off the table next to them and pushes Henry onto it so he’s sitting with his back against—Alex looks up and almost breaks into deranged laughter—a portrait of Alexander Hamilton. Henry’s legs fall open readily and Alex crowds up between them, wrenching Henry’s head back into another searing kiss. They’re really moving now, wrecking each other’s suits, Henry’s lip caught between Alex’s teeth, the portrait’s frame rattling against the wall when Henry’s head drops back and bangs into it. Alex is at his throat, and he’s somewhere between angry and giddy, caught up in the space between years of sworn hate and something else he’s begun to suspect has always been there. It’s white-hot, and he feels crazy with it, lit up from the inside. Henry gives as good as he gets, hooking one knee around the back of Alex’s thigh for leverage, delicate royal sensibilities nowhere in the cut of his teeth. Alex has been learning for a while Henry isn’t what he thought, but it’s something else to feel it this close up, the quiet burn in him, the pent-up person under the perfect veneer who tries and pushes and wants. He drops a hand onto Henry’s thigh, feeling the electrical pulse there, the smooth fabric over hard muscle. He pushes up, up, and Henry’s hand slams down over his, digging his nails in.

The sensibility of the suits is on its way out, they're not the First Son and the Prince. And Alex is taking the lead.

Agency

Henry is somewhat passive in this - although he is fully engaged - but it's Alex who set this in motion. Pun intended. Alex who pushed him against the wall. Alex who pushed him up onto the table and hiked his leg up around his hip, Alex who is driving in. Because Alex needs Henry to know that third fact. The one he's worked out, the one that Henry is just catching up with. This isn't payback, it's not some prank. Alex Wants™.

There's a scene I'm writing in my current FirstPrince WiP in which Alex and Henry have a charged moment. And Henry wants to act on it but those princely sensibilities get in the way and he can't let himself be led into doing something that could be used against him. If Henry made all the moves then the accusation of him taking advantage, of the inherant imbalance that comes with status and titles and positions of power. So in the scene, and here, Alex takes the lead. There's no way anyone could accuse Henry of forcing Alex into doing this.

(Good luck getting Alex to do ANYTHING he doesn't want to.)

So Alex gives and Henry takes and he gets the memo very quickly.

Fact number three. Alex wants this too.

Then Movie!Amy walks in on them (which IMO is way funnier than Book!Amy hissing through a crack in the door) and these idiots try to act like they weren't redefining International Relations a second ago. Alex is by the painting, Henry is by the books. They've gone back to their sides and they're playing at being interested in what they find there. But they're not, it's all for show, someone who gives a passing glance at this point sees this part of them, this side of them The First Son and the Prince: the politician and the literary.

They're both backlit, they're in line even if it doesn't look like it, Alex is no longer on Henry's right, and they're both trying to act like the people that others could see them as.

But we - and they - know better. 1) Henry is gay. 2) Henry is into Alex. 3) Alex is into Henry.

4) Everyone is on the same page now.

(Also I know Casey talked about seeing the Red Room on a White House tour and so that's why they included a scene in that room in their book, but I cannot ignore the fact that red = love and passion and danger and fire [the counter to the water motif] and it's a warm colour designed to excite.)

[beautifulhigh]

Welcome to the next edition of Jen's meta ramblings

I have watched the movie at least once a day since it came out and I kid you not, I see something new every time. The fact that this is Matthew López's first directoral debut is just... I'm in awe. And you can tell how much he loves the story because of the way things like this are set up and played out

In the novel, Henry and Alex are skinny dipping in the lake at night, and so I absolutely got the change in both time of day and also attire. But let's talk about that little island shall we?

No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea

Every single one of us is not meant to be alone, without connection and without a link to someone else. We are parts of a whole and if we lose that... well. It's not good.

Henry is on that island, our prince who belongs to Britain and Henry Fox who thinks he has to belong to himself. The prince is forced into status and circumstance, of appearances and mindless ribbon cuttings. When he does something that means something - like the trip to the cancer ward - then he doesn't do it with cameras. I'd argue he's not the prince there, he's Henry Fox. The man who lost his father to cancer.

But this is not that meta.

Henry has shut himself off, shut himself away. He doesn't date the people he's interested in, he doesn't live his truth (and for very good and valid reasons). He has decided that while Prince Henry belongs to Britain, Henry Fox is an island.

And look who is swimming up to that island. Look who is coming out to Henry, having realised the night before that oh yeah, I do feel forever about him and so Alex swims out to that island.

And the first thing he does? He makes Henry laugh. He is silly and fun and the complete antithesis of the composed and collected Prince of Wales. And then he joins Henry, on his island.

This gorgeous overhead shot shows us that Alex is putting himself on Henry's right (protocol or his good side?) but he's also in the centre of the island. He's not on the edge of it. In the metaphor of Henry Fox's island, Alex is putting himself at the heart of it all. RIght before he lays out his heart to Henry.

The shot that broke our hearts too, along with Henry's. Because we can see the shore in the background now. We're reminded that islands are not - they cannot be fully independent. People cannot be islands and even though Alex is literally and metaphorically planting himself at Henry's side, Henry knows that this island he's formed for himself in his heart and his sense of self cannot stand if Alex is there. If Alex is with him then he is no longer an island. Henry Fox will not belong to himself and the sense of protection and self-preservation we see coming out in the Storming of Kensington is under threat.

So he bails.

The island is submerged, like the mythical Atlantis, because how do you render land useless? Drown it. How do you deal with water? Drain it away. He abandons his island and flees back to the only other space he has left - Kensington Palace - in an attempt to regroup. He drains his life of Alex and what he brings. He has to return to being the Prince of Wales because Henry Fox got too close. Because Henry Fox realised he was being loved by a man who would literally swim out to where he is.

Moment of appreciation for the shot. Matthew, you have a fucking talent and I cannot wait to see what else you do. Because our #imtaller boy looks so small here. So lost. When else have we seen someone look so small and lost?

Oh. Yeah.

When he's curling in on himself in an almost last-ditch attempt to protect himself and his boundaries from what is coming. You can see that he's no longer dry, that Alex's "shower time" has changed him. Alex brought laughter and love and water onto his island and Henry has just realised what this means. This isn't a visitor's visa. This is immigration.

Which is what makes THIS so much more. Back to our boy, drenched from the storm, plaintively asking Henry to talk to him.

Because yes, the Storming of Kensington happens during an actual storm, but by now you know I overead into everything... so once again we have Alex "swimming" out to Henry. He's dived right in and gone are the jokes, gone is the humour. He is here and he is asking to be let in and daring Henry to send him away.

This is Alex, serious and in love and following Henry to whatever landmass he is setting foot on. Henry is trying to be an island and Alex is out here going, "I'll just build another boat you fucker". A true 'ship if you will. He swam out to an island on a lake, he flew to a tiny island across an ocean. He is standing at Henry's borders and he isn't launching an offensive. He's just saying that if Henry wants to be cut off from everything then he needs to do the cutting himself.

Prince Henry felt like he belonged to Britain, Henry Fox felt like he had to belong to himself, and Alex turned up and went "nope. Mine now". (Insert additional historical quip about the English being colonised for once.) But there is still some truth in that: the Prince is part of England, and we should all belong to ourselves even in relationships. Henry just learns that the different parts of him can co-exist. Bit like how water and land can co-exist without one destroying the other.

Henry is Alex's North Star but he's also his solid ground. Insert quip about Alex colonising Henry and claiming him for his own, planting of flag, your innuendo of choice goes here. Pyramus wished there wasn't a wall - Alex straight up scaled Henry's.

There's a divergence between Prince Henry and Henry Fox, but at the heart of them both there's Henry. And this is the man that Alex sees, this is the man that Alex loves. Alex swims out to the island for Henry Fox, Alex pushes through the rain for Prince Henry. Alex holds steady in the storm of talking with King James/Queen Mary and the public.

And it started with Alex literally making his way out to Henry on an island: be that England for the Royal Wedding, a pontoon island on a lake, or knocking down Henry's walls.

To this moment. Which is very hard to grab a screenshot of, but Alex asks Henry to "take a walk" with him. This time it's Henry going to/with Alex. The fact that he's there is one thing (and a rant rather than a meta) but at this point they have each other. They belong to each other. Where one of them goes, the other one follows. Independent, together, co-existing.

Anyway. I'm sure there will be more bullshit ramblings and metas at some point. Follow me if you want more of that (but be warned: blank and empty blogs are blocked on sight) because we are not islands in this metaphorical storm of life. Let us swim out to one another, dry off with one another, and live a life with broken down borders and walls.

ETA: I now have another name to add to the thanks. Stephen Goldblatt, from the bottom of my soul, thank you

[beautifulhigh]

"The prince's heart did beat freely, once again."

No but why is this one line so much MORE than the email in the book? Because in the book that armour was protecting him after his father's death and yeah, grief does that to you. The need to protect yourself and those around you.

But in this? This is a prison he has been put into by the king. This was done to him until the "devastatingly handsome peasant boy" came along and pulled away at that prison, piece by piece.

And the prince is scared of what it would mean to be without his armour, without his protection, because even though it was a prison and even though he's not free with it, he is safe. Nothing will ever happen to him while he wears it.

The peasant boy is pulling at it, trying to free him, wanting to free him, and even though he can't because the prince can't let go, he does make some space. There's space for Henry to be free, to love Alex, to want everything with him. To be brave for them both.

He just has to learn to let go of that final piece of armour, the one that hides his "shames" and his secrets.

When he's with Alex, his heart beats freely again - the way it did before he had talk of duty and responsibilty and made to feel like his feelings were "selfish desires". With Alex, Henry is free.

AND I AM EXPECTED TO BE NORMAL ABOUT THIS HOW?

[beautifulhigh]

Wanna get angry on this Saturday? Cool. Come join me on this.

I think Miguel hacked Alex's emails way before the leak.

Alex wouldn't be able to just "drop by" somewhere for coffee. It would have to be cleared, vetted, all the usual stuff. So he will have a routine that he follows, a routine which includes (at least) one Secret Service member. And when you have a routine and protection like that, schedules will be sent out confirming who is with Alex and what the plan is for the day. Sent out by email. And OH LOOK he's in the coffee shop...

Alex tells Zahra that he "emailed senior campaign staff" three weeks ago with his Texas memo. A memo that Miguel has read by the State DInner. He says he "quite literally has his sources" and... well.

The email leak. Miguel has his article written and published within hours of them being put on Reddit and he is called out on how quick that is.

So when did Miguel hack Alex's email?

"We made out once, on the campaign..."

Ellen Claremont was on the verge of making history (huh). The first female president, in a mixed race marriage with a biracial, bilingual son. The Lometa Longshot going all the way to the White House. Getting the inside track on that would have been one hell of a scoop and when you have her son, desperate to do more, be more in this world, then that's an in you can manage. Get some details about the campaign, how things are going. But also finding out about the people behind it - film!Oscar and his own political campaigns. Alex, the up and coming law student.

Little flirting, little making out "fully naked, in a hot tub"... You gotta wonder where Alex's phone was at that time and whether Miguel got his hands on it.

From day one, the central mission of POLITICO has been to help sustain and vastly expand nonpartisan political and policy journalism by winning the audience. (From Politco's "About" page)

Alex talks about how he's good for "photo ops and New Year's parties and stupid shit like that" and so there is an interest in Alex, the First Son. He's good looking - the party is filled with the "who's who of eligible young women" and we know from Henry's first text that he attends events with a plus one. And Miguel has a line into that, to win the audience for Politico with updates about Alex doing more, being more, working as part of his mother's campaign.

So yeah. I think Miguel got access to Alex's emails back on the first campaign trial which makes it all the more horrible as he watched those emails come through in real time. He knew what was going on when he was in New York, making comments about them being in the same hotel.

"Do you really think we're ever hooking up again?" "Well I don't anymore"

is his reply in a lovely bit of equivocation because Alex is clearly shutting him down this time... but maybe he also knows about Henry. The Henry who walks in through the door moments later. Miguel knows he won't be hooking up with Alex because someone else is, and maybe the comment was a way to test the water. Would Alex turn him down and say or suggest he was seeing someone?

In the book more emails are exchanged following the storming of Kensington: there is no clear timeline in the movie: Labor Day is at the start of September (Lake House), it's a week before Alex flies to London (so mid-September), and the election is at the start of November. They are outed the week before polling (Zahra says "we'll find out next week" following Alex's speech) which makes it around mid to end of October when they're outed. That's about one month in which they would have been in touch, likely through emails, fully committed to this relationship and making it work.

Dropping the bomb before the election is one way to get traction because all eyes are on the White House at that time. Plus a month to pull off the emails, to get them sorted, make a plan for Reddit, start working on your article...? Taking each new message as it comes in?

Miguel hacked Alex's emails WAY before the leak and I'm pretty sure I'm willing to die on this hill.