Lewis 6.03 Fearful Symmetry
2/6/12 23:23![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
darkemeraldsWhere are they going with Hathaway?
On second viewing, I've decided that this rather odd and extra-dramatic episode is all about James. He doesn't say much--well, does he ever?--but in his really stunning and yet vaguely priestly-looking new long black coat and his heavy smoking, and his ever-stronger reactions to the things his job exposes him to, it sure looks like he's thinking about returning to religious life.
I'm struck by the scene between Hathaway and Silas, the lost boy from Box Grove. You know, the one with the lanky frame, the sleek blond hair and sticky-outy ears and cheekbones, the long dark coat, the smoking, the intense gaze, the not saying anything--that one?
Now, in an earlier scene, Hathaway and Lewis sit down at a restaurant to go over case files, and Hathaway makes a point of moving a chair so that he can sit next to Lewis--two coppers, neither wanting to have his back to the room.
So it's noticeable that in the scene with Silas, they sit facing each other. They're talking about a graphic novel, Nightkeeper, and James (knowing at a glance which issue it is because he knows everything) says that's the one with the "epic face-off" in which Nightkeeper has to confront a villain called Mirror-Face and "defeat his own reflection."
Then, next thing you know, young Silas is found murdered and posed in the style of St Sebastian ("the saint who was martyred twice"). We don't see his face, just his body from behind, a peculiar choice for a show that loves to linger on open-eyed dead bodies. It's almost as if, gee, they want us to think, "That looks kind of like Hathaway."
Poor James. Gazing out longingly at the lovers in the street. Trying the rope ("It's a buntline hitch, a.k.a. a four-in-hand knot" because again--and this cannot be overstated--Hathaway is All Knowing) around his own wrist all alone at night in the police station. Giving a pained little half-smile when the ethologist says unequivocally that it's all brain chemistry and there is no soul. Singing "Row, Row, Row Your Boat" to the little boy and ending with "Life is...somewhat repetitive."
Where are they going with James? And how can they get there in one more episode? I don't see how it can be a happy place, do you?
PS The choir at 8:30 is singing Henry Purcell's "Thou Knowest, Lord, The Secrets Of Our Hearts," music for the funeral of Queen Mary, 1659. Gorgeous.
On second viewing, I've decided that this rather odd and extra-dramatic episode is all about James. He doesn't say much--well, does he ever?--but in his really stunning and yet vaguely priestly-looking new long black coat and his heavy smoking, and his ever-stronger reactions to the things his job exposes him to, it sure looks like he's thinking about returning to religious life.
I'm struck by the scene between Hathaway and Silas, the lost boy from Box Grove. You know, the one with the lanky frame, the sleek blond hair and sticky-outy ears and cheekbones, the long dark coat, the smoking, the intense gaze, the not saying anything--that one?
Now, in an earlier scene, Hathaway and Lewis sit down at a restaurant to go over case files, and Hathaway makes a point of moving a chair so that he can sit next to Lewis--two coppers, neither wanting to have his back to the room.
So it's noticeable that in the scene with Silas, they sit facing each other. They're talking about a graphic novel, Nightkeeper, and James (knowing at a glance which issue it is because he knows everything) says that's the one with the "epic face-off" in which Nightkeeper has to confront a villain called Mirror-Face and "defeat his own reflection."
Then, next thing you know, young Silas is found murdered and posed in the style of St Sebastian ("the saint who was martyred twice"). We don't see his face, just his body from behind, a peculiar choice for a show that loves to linger on open-eyed dead bodies. It's almost as if, gee, they want us to think, "That looks kind of like Hathaway."
Poor James. Gazing out longingly at the lovers in the street. Trying the rope ("It's a buntline hitch, a.k.a. a four-in-hand knot" because again--and this cannot be overstated--Hathaway is All Knowing) around his own wrist all alone at night in the police station. Giving a pained little half-smile when the ethologist says unequivocally that it's all brain chemistry and there is no soul. Singing "Row, Row, Row Your Boat" to the little boy and ending with "Life is...somewhat repetitive."
Where are they going with James? And how can they get there in one more episode? I don't see how it can be a happy place, do you?
PS The choir at 8:30 is singing Henry Purcell's "Thou Knowest, Lord, The Secrets Of Our Hearts," music for the funeral of Queen Mary, 1659. Gorgeous.
(no subject)
18/6/12 22:23 (UTC)(no subject)
18/6/12 22:32 (UTC)