#subversions

Aspects of ‘the grotesque’ can be found within this episode. We see the distorted laughing faces of the aristos through the manipulation of the camera lens, not to mention the use of make up and costume. The whiting up to the point of caricature is extreme and sinister in presenting concepts of European superiority.

The grotesque as an artistic and literary movement gained prominence in the 18th century. One of its facets is to blur and challenge distinctions between what is defined as beauty and what obscene. The ambiguity of expectations of normalcy are at the heart of it. Make no mistake the French think they uphold all standards of normal peoples and behaviours, whilst Ed, an indigenous man of colour, is their understanding of the grotesque. They play with him, delight in perceived savagery and exoticism, then discard him. Ed himself leans into their perceptions, playing along with having eaten human flesh, a further example of the grotesque. We also see Siegfried’s wonder at how ‘the grotesque’ - Frenchie and Olu - can present itself with such cleanliness and bearing.

The idea of the grotesque explores often the role of the outsider, and whether the individual or society itself is monstrous. Frankenstein is a good example of this. To the French, people of colour act as the monster to their civility. Yet from the viewers’ perspective of 105, it is the Europeans who possess the physical and behavioural attributes of the grotesque, whilst Ed is, to use Stede’s appraisal, ‘very sophisticated’ when he isn’t manipulated into leaning into stereotypes by fear and want of approval. As with Frankenstein, the question as to where lies the identity of the story’s monster is subverted from original (Eurocentric) presumptions and expectations.

Another aspect of the grotesque is estrangement. Ed initially feels quite at home on the French ship. He tells Stede ‘These people are great’ as Stede warns Ed they’re a ‘fickle crowd’. Ed thinks he has found belonging. At the dinner table though Ed’s estrangement from this world becomes apparent. He was never part of it. The distorted camera work reinforces Ed’s realisation at his estrangement. He disassociates as the familiar becomes suddenly unfamiliar and ominous.

Another literary and artistic movement linked often with the grotesque is the absurd . The entire French experience in this episode could fall within this definition, but I think the con played by Frenchie and Olu, in particular, explores this best.

Aspects such as the irrational and illogical are demonstrated throughout. The aristos form a very long queue in which they, each individually and alone, think are going to succeed with whatever secret transaction is going on inside. Their own individual sense of superiority and arrogance, even over each other, mean they believe they will come out the winner. They never once question who the true winners are here, and it’s none of them.

Futility is also part of the absurd, and the aristos get exactly that in their little scraps of paper, declaring they are all owners of half a pyramid. The triumphant, satirical cry of ‘Now they are truly worthless’ as the papers are burned reinforces the meaninglessness of the existence of these people. They would rather destroy themselves than see someone else succeed where they do not. The burning down of the ship takes the absurd to its natural conclusion. These people’s lives have no depth, purpose, or meaning, and they self-annihilate, almost as a form of enjoyment.

The moonlight scene and Ed’s red silk reinforces opposing ideas and forces. If the aristos encompass the grotesque and the absurd, then Ed and Stede symbolise beauty and aestheticism, and some aspects of the sublime. Ed’s silk is monetarily worthless, but there is nothing absurd about it in the same way as the pyramid receipts. It is imbued with beauty and emotional meaning before Stede even gets his hands to it. Stede elevates the silk to another level in an example of the sublime, transcending its meaning from a maternal keepsake, but also of a world out of reach, into a recognition of worth and personhood, bestowed via a lover’s kiss*.

The prince is the one who puts the princess to sleep

However she wakes up as he holds her hands. The prince still wakes up the princess with a gesture of love.

But the princess is disgusted to see her prince there when she wakes up.

Emma recognizes Uncle Charlie as the savior of Young Charlie. Not in the caps but she specifies that he did by holding her hands, which is ironic because those hands are his preferred killing weapon. But also the way he expresses his affection physically. Hands that kill and heal (and love?)

Anyway, blah blah blah, something about people who look like they are getting off a 45 year cocaine binge. Blah blah blah. Then I think there’s a commentary on Christianity? They mention something on this woman created a fake religion and says that she has one God and that’s her excuse for sex parties and binge drinking and to abuse animals. Okay???????????????

Then it gets super weird again. Like more then making your pack animal do work blindfolded weird. So the wife, the one with the on God, has a lover over while her husband is away at a diner party. So far, not weird. Then the husband comes back, here you think it might be like that little story from last time, where the wife tricks the cuckhold husband. No. Here’s the first subversion. The lover, a pretty young man (I like to think 18 cause any younger gives me the creeps), goes into hiding. The husband complains that he had to leave his dinner party because some guy’s wife was having an affair. SO, this guy, Barbarus, has an unfaithful wife. Anyway series of events happen with a greedy slave and stuff and the wife’s lover is suffocated to death by sulfur! That sounds painful! 

The wife hears this she’s like what a harlot! She should burn for that. I’m thinking, you are going to eat your words because your lover is hiding. That lover is so dead.  

So, Lucius seeing how terrible the wife is being, finds the lover and stomps on his fingers. The husband turns to the lover and is like I’m not going to kill. Why should my wife have all the fun. I’m like WHAT? Is this going to turn into a threesome?! Okay, no because the husband takes the guy as his lover and then flogs him cause he still slept with his wife without permission, then divorces his wife. If only he asked permission, then he would have a threesome. 

I love that Mary gets breakfast in bed. In upper class society, it signified the importance of a married woman’s status. Often brought by servants, but at moments of great intimacy, brought by husbands. The times are a-changing, and even if Mary doesn’t technically marry, she is free to be with Doug now. It’s therefore significant he brings the breakfast to Mary as a recognition of a change of status for both of them.

And a traditional idea is also subverted and beautifully reimagined in the show - Ed bringing breakfast to Stede after a passionate night of lovemaking. Because that was one of the reasons posh married women were brought their breakfasts - they were ‘disheveled’ after a night with virile husbands, and needed sustenance before showing themselves to the world again. Technically, Stede probably needed to bring Ed his breakfast. But I’m so happy Stede got his ‘wife’ moment, even if it was more the thought that counted than the execution.

This is peak intimacy. This is honeymoon behaviour.