I keep watching, and convening with you all at the dlR liquor cart, because a) Belmonte is acting the hell out of the “Marta spiraling towards rock bottom” storyline (how is she so good technically and conceptually, and in this genre?) and – relatedly – b) because this storyline so far offers a nuanced conversation on loss and grief that is careful about including us as queer community.
It respects, so far, our specific grief (as Mafin fandom), and it addresses specifically queer aspects even as they may sail over the heads of the mainstream audience. Case in point this week: the direct reference to Portrait de la jeune fille en feu (screenshot above), as a queer, feminist-lens work on love and loss and a specific kind of narrative perseverance that resonates for Marta and Fina, too.
---------(proceed with caution, processing lesbians at work)---------
Marta de la Reina is working through (queer) loss and grief at the moment, in parallel to the fandom, and that grief is continuously given space in a way that feels on eye level.
Sometimes, one person disappears, and it can be the most important person of one’s life. And the show, at this point, addresses such a situation fare more thoughtfully than the press materials released directly after Fina’s departure (eps 377-382, approx.).
Those centered “life goes on, new loves, no big deal!” which felt like a slap in the face of that 400-ep narrative (still does, tbh). Whereas the show, right now, centers Marta’s journey as very much bound to Fina, and as an inquiry into who you are or become when someone who held a singular meaning for your life is gone or moves on without you. And that’s an entirely different way of addressing the OTP narrative the show built up to now, and that they may have to adapt, or integrate into future storylines.
At this point, I am not sure whether Brunet will return or not to the show (no cast farewell reels point to yes, but also the press materials released around the episodes of Fina’s departure were very much set up to say “nope, she’s gone for good”). I am also frankly tired of guessing because dashed hopes hurt.
I am also not sure whether the “New Marta arc!” interview video with MB was a more recent, conscious damage control, or also part of a long-hand masterplan, but it made an important point on how this grief journey matters for Marta as a character, and how the central question is who she is now, carrying her time with Fina – and in that, Fina herself – with her, but without Fina by her side. And that is a more differentiated handling of the OTP narrative than the previously released press materials showed.
Logically, the show needs to focus on Marta as a core character and on Belmonte as the actress they still have on the roster (and they should count their luck – I said “riveting” before, and I will say it again. MB is incredibly good in this storyline).
Marta’s coming out arc and Marta growing into a happier, confident self in connection to that has been her central narrative on the show, so it makes sense to keep asking “but who is she now, and who is she growing into?”
That connects to one moment of yesterday’s episode (and @madronash made me cry over it with her comment) where Marta, alone and drinking, looks at the photo Fina took of her and that Fina left to her. A gift, madronash said, linking back to the ¿qué me estás haciendo? early on, when Marta looked at the photo of Fina that Marcos had taken, just after kissing her for the first time.
And yes, first of all, OUCH and HOW DARE YOU ASH, but second: exactly. This is an astute bookend. Because of course it makes sense dramaturgically to not bring up visual reminders of an actress who is gone from the show, but beyond that, also in terms of dramaturgy, it makes sense to underline that there is a gift of Fina’s that is not the photo, but the woman in the photo – the woman who Fina has made Marta become.
And Marta now is asking herself who she is, and if all that she is in that photo is gone with Fina. It isn’t, of course, but that’s her journey right now, and I find it so, so compelling to watch. Because it’s excellently acted, okay, but also because it is a question that resonates, and in a particular way for the queer community.
It is one question that Belmonte points out in the interview, of Marta dlR asking herself whether she has been reset to caged, married and straight – seen e.g. in yesterday’s episode where she bites out at Pelayo that she’ll do what she has done all her life: smile while she’s unhappy and while no one cares or even notices.
And the question of “who am I if nobody knows?” is one that everyone closeted knows intimately (in addition to the more general question of "who am I when the person I love has left?"). Visibility and being responded to are key in shaping our self-images. And if someone who saw you (remember the “nadie me saca como tú”, although that was only in part about seeing and photos?) is gone, and nobody sees you as you are – who are you, then?
Those of us who are closeted, in parts of our lives or entirely, know that sensation. Those who are single and/or without an affirming queer peer group do, too. As do those who are straight-passing, involuntarily or not (personal anecdote: about 25 years ago, I did Erasmus in a conservative place where, even though I looked very gay and tried to hang myself with all the dyke insignia in addition, everyone read me as straight, and I felt annihilated. These days, I need to perform straight in most parts of my job. I hate both scenarios).
“Am I still gay, still valid, if I am not visible?” is a very real question for many of us. And it’s one side debate the show is currently having, and I am so here for it. Also for the debate of “what happens if you lose people, but they stay with you in how you have been changed by being with them?”
And sometimes you pay a therapist to shake those people off, but sometimes you carry them with you like a new level unlocked thanks to them, for the rest of your life.
And this is the point where one could cite that MB interview again, with “Fina being gone is not the same thing as Mafin being over”. And yes, while I want my OTP to walk off into the sunset as it has been set up, this is still something I could live with, as it does not brush aside the Mafin narrative or negates its importance (still crossing fingers for that “Marta goes to Buenos Aires” mini-series, though).
So what can happen now? (this will be lengthy. Sorry about that.)
We’re in the middle of exploring grief, and what it means to be emotionally invisible, and to live without someone who has been life-changing, and whose impact will continue (while also sharing a bedroom with someone who keeps denying and belittling that impact). And I am guessing this will advance to a point – written and performed with enough nuance – where Marta dlR will get to ask herself how and if she can she live beyond the current grief and regain a happiness that may never live up to her time with Fina, will never be as intense and all-encompassing, but could still be okay enough, and deserved?
Right now, Marta has to work through the unfinished story of Fina and her unexplained and abrupt departure. And often it is very small moments, but the show makes place for it (for us!). Take e.g. Tasio after the service for his mother (and Marta is shown as very compassionate there, even as no one can console her and Pelayo makes no space for her grief).
Tasio leans onto the car crying while the coffin is pushed into it and it doesn’t take more than one two-second cut to Marta and a look and her sending Gaspar forward, to get the parallel of Marta seeing herself leaning against that car and imagining Fina in that coffin (she has mentioned to Pelayo her worry that she would never even know if Fina got hurt. Another nice lowkey feminist moment, which I mentioned before: Marta insisting that just for being a woman who is young and pretty and alone, Fina is in danger. While Pelayo tries to sell the “She’s street-smart! She’s fine on her own! Without you or any of us!” story.)
But how much can the show tell a “Marta grows into a life where she carries Fina with her even if Fina isn’t there any longer” story if the narrative will take down Pelayo? -- My key argument there is that they cannot fully reveal the amount of his deeds if they don’t want Marta to sit on the next plane to Buenos Aires.
And I think one little puzzle piece happened yesterday, with Pelayo calling his returned contact and being disconcerted by learning that Fina has taken on a job as a shop assistant somewhere instead of his offer, and that there is no one keeping tabs on her. Because yes, we can celebrate that Fina rejects any “help” from Pelayo (four for you, girl!), but, dramaturgically, if Pelayo doesn’t know any longer where Fina is, he also cannot bring her back any longer even if he wanted to when Marta puts a knife to his throat. Dead end.
If Brunet is out for good: How much can Marta de la Reina learn about what Pelayo has done without Marta boarding the next plane to Argentina? --- Tricky.
We’ve seen this week that Marta is trapped in the uncertainty of not knowing what happened to Fina or why she left, she says as much to Pelayo who reacts with his “shark eyes going black in the sheepskin” look (which AA does well. I like him as a soft-footed villain who is cowardish and pushy and veiled – more nuanced than Gabriel, who is supposed to be all that).
Dramaturgically, how can Marta obtain certainty?
One, by believing Fina dead.
Or two, by believing Fina has left her out of her free will (to protect her, but still: leaving, which pulls their love story and commitment into doubt).
One of those two needs to happen.
What is there for Marta to know, when it comes to uncovering Pelayo, down the road?
Pelayo blackmailed Fina and forbade her to tell Marta.
Fina did not want to leave, she was adamant about wanting to stay with Marta above all.
Pelayo has the knife.
Pelayo has threatened Fina with giving said knife to the police.
Fina is in Buenos Aires.
And if Marta learned any of these, she would be looking for Fina. But what if she doesn’t know where in the world Fina is?
It would be very satisfying to have Marta learn all of the above and cast Pelayo out (or eviscerate him), but then Marta would logically leave to find Fina. So if Brunet is out for good and "finding Fina" is not an option, we may be settled with something not as satisfying as a full reveal, in terms of narrative.
Sidenote: it is interesting that Marta was already pretty much done with Pelayo in yesterday’s episode even though she has no idea what exactly he has done, but she is pretty clear on that he doesn’t care about her wellbeing and only wants her to function for his purposes. So there is not going to be a slow descent from "oh he cares so much and I owe him for burying the body" in terms of narrative, even though she only knows the tip of the iceberg here.
What could the writer’s room do?
One way out would be to kill off Pelayo with minimal reveal – perhaps as a suicide if he loses status and money?
Of course, to make it soapy, a dying Pelayo could make a statement along the lines of "she wanted to stay with you, I forced her to leave, I have the knife, so sorry, but no way back now because she died."
(madronash asked me, “Would a bitter, dying Pelayo give her that last lie just to be cruel?” -- Yes, he would, and it would make for great soap TV and give Marta a false closure they could always uproot later.
Don’t get me wrong, I personally want my Nice Sunset scenario instead, but the soap’s gotta work with what it’s given and you can’t have your female lead (or one of them) attached to the past.)
Which brings me back to the “What’s in store for Marta?” teaser interview. I have no idea when this was shot, but look at the new red dress, the lipstick and the slightly longer hair. That looks fresh off the set of “Marta on the mend and meeting new people!” (we will know when that dress appears on the show just when this was shot)
And I guess that is what we will see eventually – since a new or interim romance was heavily spoilered in the press materials right after Fina left (at times I think the crew who runs the homebound website and press is not really connected to long-term show-running and international reception and how fandom works, because ugh).
And it would fit into Marta’s journey to realize “I’m still gay. Still interesting. Still possibly interested. Still alive." (which, again, would not need to annihilate the position Fina holds in her life). Marta needs to figure out how to be gay and okay on her own, whether Fina returns or not, and whether she ever dates anyone else or not.
And I would predict that this is what they are going – there was a stark line this week, and I think it was intentional: "He perdido a la persona que daba sentido a mi vida."
And placing your life's livability entirely on another person is where Marta is in her stages of grief, but it is not a balanced position for one’s life (I know, it’s a soap. But…). And I think they now push the pendulum that way to then have it move in the other direction, towards gaining balance on her own feet. That said, it is still way too soon for any of this, even in the hothouse climate of a soap.
But. Eventually. (ugh.) For a new love interest (not that I am looking forward to it, but we know it’s coming), I don’t think the show has the guts to make it someone older than Marta, but likely someone at least clearly older than Fina, to differentiate there. And none of it would need to change the fact that Fina holds a place that is unparalleled for Marta. You can work through being noticed (and, as Ash noted, MB would act the hell out of it in the facial expressions of “[t]he interest, guilt, surprise, what do I do with this if it's not Fina?”) without unseating that.
And if Fina returned, of course it would be – following the laws of soap – at this precise point. But even if she doesn't, Marta is still there, and still gay, and still breathing. (And still linked to Fina.)
For now, though, it’s alcohol, and hitting rock bottom, and distancing herself from Pelayo for Marta. And, right now, even killing Pelayo would not answer Marta's questions of "who am I now? Who can I even be without Fina? Do I want to be alive without her?"
And for now, this is told – and performed – well enough to keep me invested in finding out.
(and, as a PS: I love how active the tag is in working through this storyline. I love the variety of takes, independent of whether I agree with them. I <3 this community!)
Okay so I was thinking about something when I woke up this morning.
If Eloise is going to be season 5 then Marina will have to 💀 sometime around the middle of the season.
And I think because of how much of a role Marina played in the lives of Colin and Penelope there will need to be a scene where they talk about it - especially because of how hung up Colin was about LW’s treatment of Marina in S2 and S3.
I want Polin to continue to have their loving honeymoon period with Elliot 🥰. Though I think in order to get closure this will need to be addressed.
Look, I’m not saying this heavily implies funeral... all I’m saying is that I got a little worried back in autumn 2019 when they filmed episode 14 ‘Nothing Lasts Forever’ and those behind the scenes pics popped up all over the internet:
It would appear that Warner Bros. intends to take the leap with Holmes and Watson in Sherlock Holmes 3 and show that they are gay.
If you’re keen on watching a more classic take on the adventures of Sherlock Holmes and Dr. John Watson, then the threequel to Robert Downey Jr. and Jude Law’s series, Sherlock Holmes 3, will be right up your alley. Though from what we understand, the movie won’t be completely loyal to the source material.
[…]
As for what you can expect from the plot, it would appear that the producers plan to outright confirm that Holmes and Watson are gay in the threequel. According to sources close to We Got This Covered […] Warner Bros. wants to take the leap and showcase Holmes and Watson’s non-platonic bond.
I was originally gathering links to post a masterlist for all my fics, but I posted so much about RNM (including Fics, Slideshows, Metas, Theories, and Headcanons) since coming back to tumblr, it kinda deserves its own post.
Fics
One Shots:
Against All Odds
03x03 Coda with Isobel and Michael (Ship(s): Malex (mentioned))
And all the old romances retold
Pirate AU ficlet where Alex is a pirate and Michael a Shipwright (Ship(s): Malex)
Be My Valentine
Gregory and Isobel play matchmaker to Alex and Michael (Ship(s): Malex, hints of Belmanes and Kybel) (Canon Divergent from s2)
Call Me Al
Michael’s friends the main group never met (and vice versa) (Canon Divergent from s1)
Chance Encounters
Alex runs into Noah before the Reunion
The Crossroads
After an argument with Liz, Rosa shares moments with Maria, Alex, and Kyle. (Canon Divergent from s1)
Deck the Halls
In which Echo and Malex are attacked by alien hunters while trying to do holiday activities, and Isobel is Isobel. (Ship(s): Echo, Malex)
Don’t You Forget About Me
Maria develops Memory Loss similar to Mimi’s (Ship(s): Miluca) (Canon Divergent from s1)
Do You Dream About Me?
Post S4. Max dreamwalks to let Liz know he’s returning from Oasis. (Ship(s): Echo, mentions of Malex & Kybel)
Everybody Wants to Rule the World
A Roswell New Mexico/Last Starfighter Fusion AU
Flowers & Hearts
High School Rom-Com AU Roswell Fanfic (Ship(s): Echo, Marosa, Side Malex - mentioned only)
Hazard
Liz’s sister Rosa Ortecho disappeared ten years ago under mysterious circumstances. Newly graduated, Liz and and Kyle, Rosa’s half brother and Liz’s lifelong friend, go to the town Rosa disappeared from in search of answers. The Watcher in the Woods Fusio AU. (Ship(s): Hints of Echo and Malex but not focused on either.)
Hell Is...
What if Max, Isobel, and Michael were caught for Rosa’s murder? (Spooky Prompts) (tw: mentions of torture and imprisonment)
How Do I Live?
Liz and Isobel seek comfort in a handprint connection with each other in the wake of Max’s death. (Ship(s): Past Echo, Hints of Liz/Isobel) (Canon Divergent from s1)
I Do (Cherish You)
Max and Liz are on a rescue mission. Afterwards Liz accidentally asks Max a question. (Ship(s): Echo)
If x(y)=n…
Michael takes care of a drunk Liz, and they discuss their similar failures at long term relationships (Ship(s) referenced: Echo, Malex) (Canon Divergent from s2)
I Remember It Well
Sheriff Valenti visits Mimi while she is in the care home. (Ship(s) Michelle ValentixMimi)
Last to Know
In which Noah is always the last to know. AU where Noah isn’t an evil alien. (Ship(s): Nobel)
Light and Dark
Pre S1 - Post S1 Relationship Exploration/Comparisons (Ship(s): Malex, Miluca) (Canon Divergent from s1)
Lover Man, Oh, Where Can You Be
1940s Carhop AU (Ship(s): Malex, Kyliz)
Missing
Mimi goes missing for the first time
Missing Pieces
Isobel knows someone is missing (Ages 7, 9, and 11)
The Most Wonderful Time of the Year
Isobel’s plans for a perfect Christmas aren’t going as planned. But maybe that’s for the best. Christmas Movie AU - Roswell New Mexico/The Most Wonderful TIme of the Year Fusion Ficlet. (Ship(s): Kybel, side Malex)
Never Forget
Kyle and loss (Ages 7, 22 and 23)
Nocturnal
The women of Roswell borrow Alex’s cabin for a weekend escape that turns out to be anything but restful as a strange prowler stalks the area. (Written for RIP Roswell prompt Monsters.)
No Looking Back
Liz has a motto: No Looking Back (Ages 17, 20, and 27)
Obsession
Michael is captured by Project Shephard (AU) (tw: mentions of torture and imprisonment)
One Flew East, One Flew West
For Crash Fest 2019: A high school class with all of the characters in it
Parallel Line
Roleswap AU where Maria & Isobel are Liz & Max (Ship(s): Maribel, Malex, Michael x Noah, Echo mentioned)
Pickup Man
NSFW. Smut, Trucks, Cars, and Malex. (Ship(s): Malex)
Picture Perfect
Arturo buys a camera when Rosa is born.
Remembrance
The Pod Squad pays their respects to those lost at Caulfield.
Respect & Love
Drabbles - Alex talks to each of his brothers (ship(s): Malex)
The School of Hardknocks
Michael pulls himself up from homelessness, starvation, and injury during the ten years after high school… not that anyone notices. (Ship(s): Malex, briefly)
Sharing a Drink They Call Loneliness
Episode 1x13 Fix-it (sort-of?) (Ship(s): Malex, Maria & Michael Friendship)
Sometimes Things End
Episode 04x04 Coda - Michelle finds out about Mimi’s death. (Ship(s): Michelle Valenti x Mimi DeLuca)
Space Camp AU
Ficlet of a RNM/Space Camp Fusion AU (Ship(s): Echo, Malex, Kybel, Marosa, Michelle x Mimi)
Talk to Me
An extended version of Max & Michael’s Talk in 1x11
This Used to Be My Playground
After the events of s01e13 friendships fracture, and come back together (Ships Mentioned: Malex, Miluca, Echo) (Canon Divergent from s1)
Trio
Young Isobel and Max meet Michael again for the first time in years. (1890s/1900s AU)
Unclean
Michael learns not to believe in the goodness of humanity. Ages 7-14. Hurt/No Comfort TW: Childabuse
White Noise
Isobel struggles whenever entering Michael’s Mindspace
Would You Like Fries with That?
Liz and Michael being Science Bros from Arturo’s POV
Yesterdays
Maria and Michael discuss love and regrets. (Ship(s): Miluca, mentioned past Malex, mentioned past one-sided Marosa) (Canon Divergent from s1)
Series:
Bunker (NSFW):
I Want You
Bunker Sex in the Project Shepherd Bunker. (Ship(s): Malex)
I Need You
Bunker Sex in Michael’s Secret Lab Bunker. (Ship(s): Malex)
I’d Die to Find Out
Bunker Sex in Alex’s Cabin Bunker. (Ship(s): Malex)
Destiny:
Destiny
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship: Malex)
Lost Kingdom
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship(s): Malex) (Part 2 of Destiny)
Army
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship(s): Malex) (Part ? of Destiny)
The Emerald Seer
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship(s): Malex) (Part ? of Destiny)
The Widow of the Web
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship(s): Malex) (Part ? of Destiny)
Prisoner of the Beast
A Roswell New Mexico/Krull Fusion AU Fanfic (Ship(s): Malex) (Part ? of Destiny)
Kryptonite:
If I Go Crazy, Then Will You Still Call Me Superman?
AU - Maria is on a supply run in a zombie apocalypse (Ship(s): Maribel)
If I'm alive and well, will you be there and holding my hand?
AU - Alex reunites with Michael ten years after the start of the Zombie Apocalypse (Ship(s): Malex)
I’ll keep you by my side with my superhuman might
AU - Liz runs into Max, who she thought died at the start of the Zombie Apocalypse ten years ago (Ship(s): Echo)
I really don’t mind what happens now and then
AU - Michael and Alex attempt to go on a date, but it’s not that easy during a Zombie Apocalypse (Ships(s): Malex)
New Identity:
(Canon Divergent from s1)
New Identity
Rosa gets a new identity for her return to Roswell after her resurrection.
Breakfast of Champs
Liz and Arturo share breakfast (Part II of New Identity) (Ship(s): Echo referenced)
You’re Probably Not What You Seem
Rosa, now known as Romina Ortiz, talks to Arturo about Rosa. (Part III of New Identity)
Two Plus Two Equals:
Two Plus Two Equals…
Alex and Michael buy a house together, but things begin to happen they can’t explain. (Spooky Prompts) (Ship(s): Malex)
Four Minus One...
Michael doesn’t think anything is wrong with his powers, but maybe he’s wrong? Or maybe he’s right and the real problem is something he can’t explain. (Spooky Prompts) (Ship(s): Malex, Echo)
Three Divided By One Equals…
Alex and Michael square off with the spirit haunting them, and then have to decide what to do next. (Ship(s): Malex)
Metas
Now has its own Masterlist
Slideshows
(Slideshows of scenes with attached Meta, Headcanons, and Speculations)
Alex and Flint:
1/3
2/3
3/3
Alien Powers:
¼
2/4
¾
4/4
Isobel and Noah’s Conversations in Mindscape:
1/5
2/5
3/5
4/5
5/5
We Are Ophiuchus
Who are the Pod Squad?:
1/2
2/2
Fanart
Antar Crashdown Sign Fanart (Parallel Universe)
Crashdown Sign Fanart
Rosa’s Fanart
The Pods Fanart
Graphics
Cowgirls Don’t Cry (Sheriff Valenti)
Echo & Malex Angst (I Never Want to See You Again/Just Let Go)
