S04.E02: Some Conscience Lost

[radishcake]

Quote

Reid struggles to adapt on his first day back at H Division under Drake’s command.

[mledawn]

I have no idea what Mathilda is doing - some kind of research for what?

 

Rose, hiding Jackson's visit from Drake is not a good idea.

 

I did love Susan getting her Susan on at the docks. I'm interested in that plotline.

[weyrbunny]

Mathilda said her research was "Mr. Booth's categories," so I suspect the project was Charles Booth's Poverty Maps of London.

 

Again with the callbacks to Series 1. I don’t remember much about Reid’s wife, but it feels like the show is retconning her “madness.” Her symptoms seem to grow worse with each season, and now Mathilda remembers her as mad all along. Looking up S1 just now, Emily did hallucinate in ep. 1.3, but she was feverish with cholera at the time, and if she was an alcoholic, there was no mention of it until S2. So, I’m skeptical.

 

Regardless, this was a touching episode, full of yearning, if a bit Dickensian in its details. The scene where the workhouse boys mistake Leda for their mom is... haunting. Leda’s syphilis-borne delusions—that one after another is her son—were sad enough, but the look of hope and confusion on the boys’ faces as they rose to hug Leda was breathtaking in its sadness. Not only did they not remember what their own mothers looked like, but they seemed desperate for the dream that she came back for them.

 

I suspect also that we are supposed to draw parallels between these workhouse boys and Susan giving up Connor. This is another of Ripper Street's tightly-written episodes, where every subplot ties back to the show's central theme of losing a child.

 

I realize now that 4.2's story is a variation on Susan’s Obsidian Clinic. Both Susan and the workhouse master tried to run charitable institutions, to care for the poor, and both were undone by the financial costs. They both became murderers trying to pay for their “great purpose.” Also, yet again, Ripper Street implies that the “order and hygiene” that represents progress in Whitechapel is a fallacy.

 

Heh. Susan and Jackson couldn’t keep their promises for even an episode. Neither is being smart, and no doubt it’ll bite them in the ass later. I knew that Susan wouldn’t last in that room—she had a look of horror on her face in ep 4.1 when she realized that she had traded one prison for another. Jackson comforting their son was a bit of a surprise though, since it endangers the plan.

 

I am pleasantly surprised by Crocker: instead of denigrating Susan or trying to dominate her like so many other men have, he actually recognizes her intelligence and treats her as a business asset. By comparison, Reid and Drake look like children with separation anxiety, uncertain about their power dynamic until they reestablish their relationship.

 

The funniest moment: Jackson and Reid noticing Drummond noticing Mathilda. Boy, you in danger.

Edited April 26, 2016 by weyrbunny

[Anothermi]

On 2016-04-25 at 9:30 PM, weyrbunny said:

Mathilda said her research was "Mr. Booth's categories," so I suspect the project was Charles Booth's Poverty Maps of London.

Thanks so much, weyrbunny, for providing that link. One reason I like this show is that it respects it's audience to either know about, or be curious to learn about relevant historical detail. In my case, their respect was misplaced as I just glossed over the mention of the man for whom Matilda was working. But you've proved their faith and allowed me to mend the error of my ways. Very interesting background.

The other historical factor that wasn't directly referenced was the new philosophy of eugenics which, it seemed to me, the workhouse master may have been influenced by. What he did was so incredibly unspeakable, and yet I believed that he saw himself "doing good". He addressed one societal "evil" by believing in what would become another.

On 2016-04-25 at 9:30 PM, weyrbunny said:

I realize now that 4.2's story is a variation on Susan’s Obsidian Clinic. Both Susan and the workhouse master tried to run charitable institutions, to care for the poor, and both were undone by the financial costs. They both became murderers trying to pay for their “great purpose.” Also, yet again, Ripper Street implies that the “order and hygiene” that represents progress in Whitechapel is a fallacy.

Well caught! And that "Catch 22" survives to this day. Doing the right thing vs the cost of doing it.

The writing is exceptional. Even if it is a retcon; linking Reid's guilt about his wife with his need to help Leda... and the emotional importance of the freely given forgiveness - even by a mentally addled surrogate -  of how he dealt with his wife was powerful to me. It wasn't "real" but it was exactly what he needed. It did help that Matilda felt something similar (again, even if it was a retcon).

On 2016-04-25 at 9:30 PM, weyrbunny said:

Regardless, this was a touching episode, full of yearning, if a bit Dickensian in its details. The scene where the workhouse boys mistake Leda for their mom is... haunting. Leda’s syphilis-borne delusions—that one after another is her son—were sad enough, but the look of hope and confusion on the boys’ faces as they rose to hug Leda was breathtaking in its sadness. Not only did they not remember what their own mothers looked like, but they seemed desperate for the dream that she came back for them.

Thanks for this thought. I didn't take that scene in quite so strongly as when reading your description. I know I noted it in some intellectual way, but your words brought it home with a punch.

It seems to me that Whitechapel is best served with Drake as the chief and Reid as the quirky "Inspector Morse - like" underling. Reid gets too easily distracted (which is why we like him) - and sometimes to the benefit of the precinct, but not if resources are taken away from other pressing matters.

Edited June 25, 2016 by Anothermi

[Anothermi]

Oh, and I forgot to mention... I feel for Long Susan, she's escaped the noose only to find herself not just back in a jail, of sorts, but back beholding to men! For which she only has one use...

Luckily her previous experience extricating herself from that misery is holding her in good stead, but she is, once again, having to watch her back on a moment to moment basis. It almost makes me forgive her the sins of her past.

[weyrbunny]

Hey, thanks for the compliment, Anothermi. I often waffle on whether or not to root for Susan, as well. She continues to be a sympathetic, intelligent character, but then I remember that she shot Reid in the head!!

You brought up Reid and forgiveness... two thoughts: He seems to have forgiven Susan for shooting him quite well (unlike me), unless he's simply being matter-of-fact about it, because he believes it's in the past. Because Susan is, um, dead.

Also, Reid feeling guilt over his wife and needing forgiveness ties in greatly with Drake and Rose's story this season. I did not make that connection until you mentioned his wife's "madness", so thanks!

[attica]

I'm digging Bennet In Charge. Authority suits him well.

Even an atheist like me can feel the emotional tug of forgiveness asked for and granted. That was a lovely scene. (I recognize Leda as Vera's partner's wife, and also the jealous shopgirl in Paradise. She's very pretty.)

I forget how old Mathilda must be by now, but having Hot Neville get all moony over her squicked me out a bit.

[raven]

I wonder what happened to Leda, Reid said he would find a place for her.  Maybe it's one of the things BBCA cut out (or I missed it).  The scene with the boys in the classroom was very moving and well acted. 

On 6/24/2016 at 11:27 PM, Anothermi said:

It seems to me that Whitechapel is best served with Drake as the chief and Reid as the quirky "Inspector Morse - like" underling. Reid gets too easily distracted (which is why we like him) - and sometimes to the benefit of the precinct, but not if resources are taken away from other pressing matters.

I agree, I really like the new dynamic.  I'm glad there's normal conflict and nothing excessive between them. 

Rose.....way to confuse the kid by bringing Jackson in and then make it worse by not telling Drake.  Oh yeah, that will turn out well.   I like the gray in Adam Rothenberg's hair - it makes sense considering the stress that Jackson has been under. 

[ganesh]

Yeesh. That main plot was haunting even for this show. Dead boys in the floor. 

I do like that Drake was firm with Reid with the priorities of the department's resources, but also allowed Reid to still pursue the case, and was helpful to him at the end.