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quarks

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  1. I'm not 100% sure that the lack of voiceovers is because of bad blood; it could be because Ruby Rose doesn't have access to a studio/sound equipment wherever she's living now, and/or doesn't feel comfortable heading to one because of Covid protocols. Rachel Maddow, in contrast, has been at her MSNBC studio nearly every day except for when her partner came down with Covid. She could easily use her own equipment in studio or pop down a couple floors to the soundstages/recording studios at 30 Rock. I'm not sure if Rose has the same access/flexibility, and I can't imagine the show's sound engineers would have been thrilled with a voice track recorded over Zoom. Meanwhile, Batwoman is going well out of its way to remind us that a) no one found a body, and b) this is the Arrowverse, where no one who has appeared in more than three episodes ever really dies. Sure, some of that is for plot/character purposes - Luke presumably wouldn't be as resistant to the idea of Ryan wearing the Batsuit if he knew, absolutely 100%, that Kate was dead - but some of it seems to be setting up some sort of eventual "surprise" return by Ruby Rose for the 100th episode or series finale or whatever.
  2. 1. Loved Mary coaching Ryan on How To Stand Dramatically On Top of a Building, Cape Waving in the Wind. It did make me a) wonder how much time Bruce Wayne spent practicing that and b) if previous Arrowverse superheroes, Kara and Clark aside, have avoided the whole cape thing because they didn't have time to practice posing. 2. Did not love the bats eating the mice, like, ugh, show. 3. Did not buy that Julia, supposedly a highly trained spy/soldier, would not take a moment to check the back seat of her car and keep the back doors locked. Fun though that scene was. 4. And once again, I find myself asking what, exactly, this show is doing with Sophie. The problems in just this episode: a. Failing to check the video before questioning Ryan, making Sophie look like someone unwilling to do basic investigation/due diligence b. Letting Ryan realize that Jacob had some sort of personal connection with Alice - allowing Ryan to connect the dots with something she could easily take straight to the press. (I mean, Rachel Maddow keeps saying, "Talk to me, Gotham!" so Ryan even has a journalist of sorts to contact.) c. Failing to save the city from the bats and wasting some of Mary's time as Mary was trying to head out with the serum to save the city. d. Heading out to meet Alice with zero backup and getting herself knocked out by a minor recurring player. e. Getting angry at Julia for not telling Kate's secret, instead of realizing that this makes Julia more trustworthy, not less. All against the background of Ryan saving the city in her first approved outing in the Batsuit, Julia figuring out Alice's location from some dirt, and Alice doing a pretty spectacular first battle/step in her war against this year's Big Bad. Sure, some of this was for general infodumping/letting Ryan compete for the title of Most Tragic Backstory in the Arrowverse. But most of it just served to make Sophie look like a terrible cop. As Arrow demonstrated back in the day, that's a hard problem to get around. Because a city with a competent police force/legal system doesn't need a vigilante (unless said city is attacked by metahumans, in which case you have a different show). So Gotham only needs a Batwoman if the police force/legal system are incompetent/corrupt. And since Sophie is part of the police force/legal system - Well. Add in that she's a now-former love interest, and. Well. I hope the show can find something to do with her, but so far it is not looking encouraging.
  3. Just wanted to repeat this - it's definitely not an Amazon issue, a library issue or a specifically Avon/Bridgerton/Julia Quinn issue. This is a supply chain issue slamming all publishers at all levels, from micropresses to the major New York publishers. Thanks to the show, I'm positive that Avon is doing everything possible to get the Bridgerton books back in print, but if paper isn't available, paper isn't available.
  4. My sense of this was more that the CW is, well, trying to CW, and doing the usual thing of teasing multiple possible relationships for the protagonist: the original and book-canon Nick; trusted friend Ace; and new character Gil. Nick made a point of going and holding George's hand after that little "remember how we met" thing, so I think Nick/George are safe for at least a few more episodes, CW show or no CW show.
  5. I originally thought the hand sanitizer bit was a nice nod to Covid. And then Nancy showed me that I've been using hand sanitizer wrong for months now. Or at the very least, not exploiting it to its full potential.
  6. As of right now, at least, Julia seems to have more in-show connections than Sophie does. Hoping that's something the show can address soon. Not really knowing what to do with Sophie was one of last season's weaker parts, and not something this season needs to repeat.
  7. Belated thought: I'm wondering how much Penelope's observations of her parents' unhappy, dishonest marriage affected her decision to tell everyone about Marina's pregnancy?
  8. Given what we saw of Lord F, in Lady F's position I probably would have felt the same.
  9. I don't think she knew she was pregnant. But I also don't think that lets George off the hook at all. He absolutely should have married her. As others have pointed out, she could have followed him to the front (some wives did.) And as his widow, she could have claimed some of his personal property and might have had some claim to income from his estate - income she would lose after any remarriage, but still, income. (Mary Shelley couldn't take advantage of this for years because her husband had never inherited the estate, so until his father died, she and her son were kinda financially stuck - but once Shelley Sr died, Mary Shelley and her son were considerably more comfortable.) And widows could always remarry, and often did. I think she would have had an easier time as a respectable widow than as a single mother (or suspected single mother, if she gave the kid up for adoption or passed the kid off as a distant relative of some kind) finding a second husband. And at the very least, George could have clued in his relatives just a little bit. Anthony goes to the effort of ensuring that Benedict knows about/will financially take of Siena shortly before the duel. Granted, my sense was that Siena had no money of her own beyond what she was earning as an opera singer and what various men were willing to give her, while Marina comes from a family that at least had enough money to lend to the Fs, so it's not quite the same, but it also doesn't speak that well of George, who I continue to regard as the main villain of this subplot.
  10. And now I kinda want Bridgerton to introduce a Smoke Monster in its next season....
  11. It came up in the context of whether or not Marina (or anyone, really, but mostly Marina) should have written to Philip in the first place, or even if she could have written to Philip in the first place. I brought up the Jane Austen examples, and then was told that I was wrong about what happened and that Marina did know/recognize Philip. So I went back to check. That's it. Is it a big difference? No, since by the social rules of the time Marina wouldn't have been able to write either of them. But I think that had she met Philip and known him before this, it might have shaped her response a bit. And, also, I think the point made in the show was that in the end, Marina drove off with a complete stranger - not someone she knew, however vaguely, or enough to recognize.
  12. I went back to episode 8 to rewatch the specific scenes. Here is what happened: 1. Penelope enters Marina's room, to find Marina packing, convinced that she is no longer pregnant. Marina says that she should have felt something from the pregnancy by now, suggesting that at this point, she's probably about four to five months along. 2. They can hear a horse/carriage clattering outside. Penelope says, "That is odd; we weren't expecting any callers today," and goes to the window to look down. Marina joins her. They look down. 3. Sir Philip steps out of his carriage. Penelope and Marina can clearly see his face and those of the footmen and the carriage driver. 4. When Marina sees his face, she makes a small sound. 5. Penelope says, "Marina, are you quite well?" 6. Marina backs away from the window. 7. The scene cuts to Daphne's boring life. 8. Lady B and Daphne run into Lady F. Their conversation is interrupted when the servants say that a Mr. Crane - not a Sir Crane - has arrived at the house. Daphne assumes this must be George. 9. Daphne, Lady F. and Lady F's maid return to the house. (Lady B is not in this scene, for whatever reason.) Lady F says: "Mr. Crane, how delightful to make your acquaintance. I had no idea a soldier such as yourself was coming to town. And, well, Miss Thompson has not received any correspondence from you in quite some time." Sir Philip: "Nor would I have expected her to, my lady." Lady F: "I beg your pardon?" Marina: "That man is not who you believe him to be, Lady Featherington." Philip starts explaining things; Marina flees the room. 10. Marina says that a) Philip found a half-written letter addressed to her, but, b) could only find out where Marina was because of Daphne's enquiries. 11. Marina then tries to convince us that George wasn't a complete jerk. 12. Cut to Eloise/the modiste and the boxing people. When we return to the Fs, Sir Philip wants to speak to Miss Thompson. 13. Scene, including two footmen, Sir Philip, Marina, Lady F, Penelope, and the other two F girls: Marina: Marry you. I do not understand. Philip: After my brother clearly took liberties with your [pause] virtue, I would merely be doing my duty. [Marina looks horrified.] Lady F: A respectable marriage! Miss Thompson! What a fine thing! Sir Philip inherited the Crane title. He has a perfectly adequate estate to support you and perhaps your distant cousins too -- Marina: I cannot. I do not know this man. I do not love this man. I cannot marry this man. Philip: George cared for you very much, Miss Thompson, and that will never change. But he would have wanted you to be looked after. He would have wanted you to be supported. Allow me to realize my late brother's wishes. Marina: I thank you for your offer, Sir Philip, but I believe you should now take your leave. Philip: Very well. I wish you all the best, Miss Thompson. [Philip leaves.] Cut to Daphne/Simon, a family scene with the Bs, and the boxing match. When we return to the Fs, we see them spending some of the boxing money on new clothes; Lady F says that Philippa has a dowry again. A couple minutes later, Marina realizes that she is still pregnant. Preparations continue for the Hastings ball. Marina confirms that she's still pregnant. She does not go with the Fs to the ball. The Fs return to find the servants and Bow Street Runners in their downstairs hall; Lady F asks about Miss Thompson, who appears quietly on the stairs, and learns that her husband is dead and the money is gone. Cut back to Simon/Daphne, Colin taking off, and Penelope and Eloise, before returning to Marina and Lady F. Marina: How did you do it? How did you endure 2 and 20 years of marriage without love? Lady F: You find things to love, my dear. Small things. Big things too, like your babies. And eventually they add up to be enough. You are strong, Miss Thompson. Perhaps even more so than me. You will do well. Marina rides off in a carriage with Sir Philip, without saying anything else. ----------------- That's exactly what happened, word for word. We can perhaps infer that Marina does recognize Sir Philip when he steps out of the carriage. But we don't know that - especially since there's at least three other reasons for her to look concerned and step back: 1. She recognizes Sir Philip's servants (again, they are visible from the window, and may have previously worked for George). They aren't with George. Bad sign. 2. She realizes that the man that just got out of the carriage has a strong resemblance to George - but isn't George. Bad sign. 3. She has a sudden bad feeling about this (which, given that the owner of the house that she's currently staying in is about to get murdered, and that she knows the Fs are having some financial difficulties, is a reasonable response.) Meanwhile, we have several indications that Marina and Sir Philip have never even met before: 1. Sir Philip's proposal, which is entirely about his brother, not Marina. 2. Sir Philip not once saying something along the lines like, "Well, yes, this is unexpected. But when we met back in X, I thought you were quite charming." 3. The servants not knowing which Sir or Mr. Crane this was. (That doesn't rule out a previous meeting, of course, but also suggests that Marina didn't enter the room and go, "Oh, Sir Philip!") 4. Marina telling Daphne - and us - that Sir Philip would not have found her if Daphne hadn't started to make enquiries. Sir Philip had George's letter, addressed to Marina - and yet had no idea how to find her. That more than strongly suggests that he had no idea who Marina was. "Marina" is not that common of a name. 5. Marina not writing Sir Philip to find out what happened to George (see the whole Jane Austen thing about unmarried women not writing to men, which would be especially true if the two of them had never met). 6. And the biggie - Marina flat out saying that she doesn't know Sir Philip, something Sir Philip doesn't contradict. And again - Jane Austen gave us plenty of examples of people never meeting family members of people they know well in at least three books (and arguably Northanger Abbey). So, yeah, based on what was said and not said, I think it's at least possible - even probable - that Marina and Philip had never met before episode 8.
  13. In Jane Austen's Sense and Sensibility, Elinor Dashwood, her mother, Mrs. Dashwood, and Mrs. Jennings all assume that Marianne is engaged to Willoughby because Marianne is writing letters to Willoughby. All three of them assume that Marianne knows full well that she should not be writing anything to Willoughby unless the two of them are engaged. In that same book, Elinor Dashwood never writes to Edward Ferrars, the man she eventually marries, because they are not engaged. He has, however, written to Lucy Steele - letters which Elinor takes as firm proof that Edward and Lucy are engaged. In Pride and Prejudice, when Mr. Darcy decides to write a letter to Elizabeth explaining just why Wickham sucks, he makes a point of not sending it through the post, but rather waiting until he can see Elizabeth in complete privacy, to ensure that no one sees that he is sending her a letter - and thus, ensuring that her reputation remains intact. Even Lydia, who is willing to run away with Wickham, so obviously not all that concerned about doing the right thing, never writes letters to any of the young officers she flirts with. Unmarried women did not correspond with unmarried men. Also, throughout most of Sense and Sensibility, numerous people who know Edward Ferrars fairly well - including Lucy Steele, the woman he's engaged to - have never met his brother. (That might have been deliberate on Edward's part, granted - once Lucy does meet Robert, she dumps Edward for Robert.) At the start of Emma, almost no one in the neighborhood has met Frank Churchill, the son of one of the local residents, or Jane Fairfax, the niece and granddaughter of two local residents. I bring that up because it wasn't clear to me that Marina could recognize Sir Philip on sight. It seemed more that she heard that one of the Cranes was there, got excited, looked down - and realized that wasn't George, but given the name and - I assume - a family resemblance - it had to be Sir Philip. That seemed to fit her later statements that she didn't know Sir Philip. So although I really can't give Bridgerton much credit for historical accuracy, this part - how hard it would have been for Marina to write Sir Philip (especially before she knew about George's death), and Marina not knowing Sir Philip, or at the very least, not knowing him well - seems to be straight from Jane Austen.
  14. Since this is a Netflix show, though, I don't think they can count on getting more than four seasons. And since they've made a point of making Eloise a fairly prominent character, I'm assuming they want to give her her HEA by the end of the show. Even with adding time jumps to the script, that doesn't give them that much time to marry off and widow Francesca - unless they have Francesca's first husband drop dead almost immediately after the wedding, and even then. My own guess is that since Eloise and Francesca are close in age in the books, Francesca will start appearing at some society events next season, the same way Eloise did this season - allowing Francesca to meet John next season, marry him/be widowed either in the third season or between seasons, and then have her story happening as Colin and Eloise get their HEAs in season 4. In fact, after the viewer reception of this season, that's exactly how I would plan on it, since Colin/Penelope and Eloise/Philip (assuming they stick with Eloise/Philip) are coming in with, I think, more baggage than the showrunners intended. And while I'm planning on it, since a Marina/Philip divorce doesn't really make much sense, given the historical context and the last episode of this season, I would go ahead and completely disappoint book readers by putting Eloise with someone else, to avoid the need to kill Marina off. On the other hand, if I had been writing this show, I would have made some massive changes to the Simon/Daphne story, so...chances of the showrunners doing this, probably kinda low.
  15. Speaking of Francesca, her book happens during Colin and Eloise's books - when she is already a widow. So if this show is planning on more or less following her book, they probably should have her at least engaged during the next season - which means actually having her on the show next season so viewers are aware that she's someone they should care about.
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