insane production design choice to put a 1984 poster on niall’s bedroom door, because the immediate shorthand of the novel is obviously ‘big brother is always watching’—this idea of an omnipresent authority that continues governing your behavior even in moments of physical absence—which feels inextricable from the way ruben operates within the show. but what makes 1984 so genuinely horrifying is the psychological consequence of prolonged domination: the erosion of a private self, the way fear and control become so thoroughly internalized that the watcher no longer needs to stand in the room because he has already taken up residence inside you, rewriting how you understand love, loyalty, safety—and what you believe you deserve from all three.
that is exactly what ruben’s violence has done. even in his absence, everyone continues organizing themselves around him—anticipating him, contracting around wounds he opened years earlier, the past remaining not behind them but invasively, insistently present. he’s a specter lingering over everything.
which makes the placement on niall’s door so devastating, because this episode is about niall reaching—toward autonomy, toward a life expansive enough to finally contain honesty and desire. just away—far enough to exhale, far enough to start anew. and yet gadd frames his most private space with a novel about what total surveillance does to a person’s interiority and selfhood.
niall is trying to become someone. the poster is gadd telling you, in the most precise way possible, that big brother already got there first.
because in the end, winston smith—the protagonist of 1984—doesn’t just submit to big brother. he loves him.
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