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Trout Nation 2017 In Review

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Every year, I make a post where I highlight what I believe to be my very best posts from the year. But this year, I’m not sure I had that many truly “good” posts. Yet so many of you continue to visit and support this site. I’m blessed by your continued presence and participation, but I’ve obviously lost my drive and focus, not just here, but in my fiction writing, too. So, with that in mind, I’m going to try to enter 2018 with new drive.

That said, here is the Trout Nation year in review:

January

I re-released Surrender, a book of my heart that I poured massive research into only to see the publisher crash and burn a few short years later.

I ranked every song in Galavant, a stunning work of epic silliness that you should definitely watch if you haven’t already.

Chronic pain patients were thoroughly insulted by Veronica Roth’s Carve The Mark, a New York Times bestseller filled to the brim with racism and ableism.

February

I offered some helpful tips to the jackass journalists gleefully using Fifty Shades Darker as a vehicle for their desire to demean women.

And I offered some helpful terminology to enhance your Mario Karting experience.

Have a writing question? This is when The Big Damn Writer Question Box debuted.

March

People with enough time on their hands to obsess over wanting to break up an actor’s marriage decided I was a terrible person. Captain Kirk was on my side, though.

Say Goodbye To Hollywood, a somewhat-inspired by Fifty Shades Of Grey novel, released.

I hated Beauty And The Beast so much that I loved it.

Abortion was a big theme in March, with my stance on cis male allies and a review of a fantastic HBO documentary posting within days of each other.

April

I got plagiarized. Again. This has got to stop happening. Luckily, you all had my back.

I showed you how to make a waffle, via a weird video.

May

My mental health took a crash.

And I absolutely had it with MAGA and their fake concern for the LGBTQA+ community.

Why even are male writers? And other tips for incorporating bear-death into your writing career.

June

Wonder Woman was, despite popular criticism, really darn queer.

Did you know that panhandlers make more than minimum wage workers do?

July

Twitter continued to protect Nazis.

My daughter’s reaction to Jodie Whittaker’s casting as the Thirteenth Doctor went viral. I even got interviewed about Doctor Who on BBC Radio, so basically that was a dream come true.

My husband had a problem with my proposed career change, and we made another waffle!

August

Neil and Sophie returned in The Sister. Sadly, it didn’t become a legitimate New York Times bestseller like Handbook For Mortals did.

September

We finished our re-watch of Buffy season three and started season four. Which seemed like a perfect time to come clean about some weird shit I keep in my office.

October

I got the opportunity to review Una, one of my favorite films of 2017.

We dove into a parallel rewatch of Angel. I’m pretty sure I messed up the title on that recap.

November

I started an ongoing series about the worst person I’ve ever met.

December

Bronwyn Green Leslie Knope-d the absolute fuck out of Christmas, but even her beautiful gift was nothing compared to the blessed visit from our favorite con artist, Zade Sarem.

So, here we go, into 2018 and a brave new world of however this plays out. Thanks as always for going on this incredibly weird journey with me.

Jealous Hater Book Club: Handbook For Mortals chapter 10, The Hanged Man or “Internalized Misogyny, Rinse, Repeat”

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Another week, another installment of “Lani Sarem shows her entire ass.” In her now infamous Facebook thread, she added further proof of her racism to the mix, asking to send a friend request to a writer who insisted The Hate U Give was only defended by readers because it contains hatred of white people (Thanks to Cheryl Z for bringing attention to that in the comments). It’s only a matter of time before Sarem openly attributes her failures to reverse racism.

Some people have noticed that Sarem has copy/pasted the same question in several different Facebook writing groups. It’s pretty clear that she’s not doing it just to drum up vocal support; nearly every time she tells her sob story about nobody listening to her and everyone being against her, some indie author with a bug up their ass about how persecuted they’ve been by the “gatekeepers” swears they’ll buy a copy of her book. Her new marketing plan is at least less convoluted than the original one.

And away we go.

Jealous Haters Book Club: Handbook For Immortals, Chapter 7 Strength (part 2) or “Circus Of The Stars”

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Howdy, readers! Did you know that you can listen to these recaps as audiobooks? Beneath The Hat is producing an ongoing audio serial of these recaps, complete with dramatic readings of the excerpts. You can listen to Handbook For Mortals AND Fifty Shades Of Grey here! She also writes Paranormal Contemporary Romance as Kate Davidson, and her first novel, Animal Instinct is out now!

Jealous Haters Book Club: Handbook for Mortals Chapter 1 “The Magician” or “That’s not how any of this works.”

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Before we get to the recap proper, I want to warn some readers about potentially sensitive content. That is, I want to warn you that if you’ve ever worked in the theater in any capacity, you will be fully outraged through this entire chapter, to the point that you might want to throw your phone or laptop or tablet or however else you’re reading this. So, read this only a soft surface to prevent damage to your device, and try not to fling it too hard.

In other news, Kayleigh Donaldson’s piece at Pajiba has been updated to include a response from Gill de Mace’s agent about the cover art controversy, as well as what might be the most bizarre aspect of this entire drama: the author of the infamous My Immortal has spoken. You can read her full statement at Pajiba, but this is the highlight:

Because I’ve received several messages asking this, and predict I may receive more, I’ll answer it here. No, I am not Lani Sarem. Really bad fiction simply tends to read the same.

Imagine if the writer of My Immortal, the most notoriously horrible fanfic of all time, called your work “bad fiction”? How could you ever possibly recover from that? You’d have to change your identity and start fresh with a new life. I mean, really, imagine that the author of My Immortal wanted to distance herself from your work.

A scene from Bob's Burgers, in which Tina says, "If you need me, I'll be down here on the floor, dying."

Another rumor I’ve seen going around is that Handbook For Mortals: Book 1 Of The Series sold 7,000 ebook copies in the week following the controversy. I’m calling bullshit until someone can offer definitive proof. The only platform the book seems to be available on is Amazon, and even there it hasn’t broken the top 1,000 sales rank. During that week, when I was keeping occasional tabs on it, I never saw it rise above 10,000 in overall Kindle sales. In short: this claim of astronomical e-book sales is just as believable as the book’s claim to the #1 New York Times spot.

And in catty gossip news, an industry acquaintance on Facebook staunchly defended Lani Sarem, to which I responded in my usual Trout way, and Lani Sarem responded. I do not have screenshots, as I care so little about what a con-artist has to say that I didn’t bother reading the replies and muted the thread altogether. That’s not important news, but I know for a fact some of you will like hearing that story.

So, let’s get to the dirty business.

So long, and thanks for your money

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Romance readers and authors get a lot of derision thrown their way. So much so that many have a mental checklist that runs every time they read mainstream media articles about romance or the people who write it.  We know that even the most well-intentioned pieces will use terms like “bodice ripper” and make mention of Fabio; some will praise the genre for moving past the days of clinch covers and towards more palatable packaging. Many will speak of the elusive “well-written romance”, which may or may not exist. Recently, author Diana Gabaldon deployed each of these trite views of the genre–a genre whose readers have supported her with their enthusiasm and their dollars to the tune of an acclaimed bestselling series and a highly-rated television phenomenon. In an interview with Vulture she insisted that her books don’t fit the romance mold:

A romance is a courtship story. In the 19th century, the definition of the romance genre was an escape from daily life that included adventure and love and battle. But in the 20th century, that term changed, and now it’s deemed only a love story, specifically a courtship story.

On Twitter, Gabaldon–a self-professed non-romance writer–expanded on this point:

It’s difficult to take Gabaldon’s definition of the genre seriously when she seems so painfully out of touch with it. E.L. James’s Fifty Shades of Grey, easily the most profitable and talked-about novel of the century so far, spent its sequels following the married life and personal tribulations of Christian Grey and Anastasia Steele, who remain the protagonists throughout the series. Sylvia Day’s Crossfire series, another blockbuster in the vein of Fifty Shades, follows a single couple through five books. Both are “so labeled and packaged” as romance novels. According to a FAQ on Gabaldon’s website, romance authors themselves feel Outlander and its sequels are not romance novels:

I joined GEnie (one of the big online “information services” available in the late 80’s—well before the Web as it is now existed) shortly after winning the award, and one (quite well known) author sent me a private e-mail, saying that she thought she had better come out and tell me, since there were several messages from her on the board saying so, that she felt it was not right for Outlander to have won, since “it wasn’t really a romance–there wasn’t enough concentration on the relationship between the hero and heroine, she was older than him (hey, everybody knows you can’t do that! (You want to know how many times I’ve heard “You can’t do THAT in a romance!”–from romance writers at romance conventions?) they didn’t meet until page 69, you didn’t know he was the hero until much later, it was much too long, and it had all that HIStory, it was in the first person!! (an utterly heinous crime in that genre, apparently), and as for what I did to Jamie…!!

While Gabaldon may be content to cling to the attitudes of romance readers and writers as they stood twenty-five years ago, the genre has moved on. Today, Romance Writers of America has a much broader, more inclusive definition for what does and does not constitute a romance novel:

All romances have a central love story and an emotionally satisfying ending. Beyond that, however, romance novels may have any tone or style, be set in any place or time, and have varying levels of sensuality. Romance fiction may be classified into various subgenres depending on setting and plot elements.

Gabaldon’s series fulfills each of those requirements. Her books, while including time travel and historical intrigues, are at their very heart a love story about Jamie and Claire. And while on her website Gabaldon asserts that romances must have happy endings, the RWA only stresses the need for “an emotionally satisfying ending.” Though Gabaldon’s books sometimes end on distressing cliffhangers, they’re far from dissatisfying. By today’s definition, Outlander is most certainly a romance. Yet she still chooses to push the genre away:

If you call it a romance, it will never be reviewed by the New York Times or any other respectable literary venue. And that’s okay. I can live with that. But more importantly, you will cut off the entire male half of my readership. They would say, “Oh, well, it’s probably not for me.”

Though Outlander in its television form has drawn in male viewers, and male readers of the series undoubtedly exist, the audience the series has attracted is undeniably, overwhelmingly female. And Gabaldon’s concern about her male readership didn’t stop her from marketing the book as a romance to begin with. In the interview, Gabaldon explains why she was fine with the idea of marketing Outlander as a romance when it was first published:

So my agent said, “Well, we could insist that they call it science-fiction or fantasy, because of the weird elements, but bear in mind that a bestseller in sci-fi is 50,000 in paperback. A bestseller in romance is 500,000.” And I said, “Well, you’ve got a point!”

In other words, Gabaldon’s agent and publisher knew that Outlander best fit the romance mold, and would sell like crazy there. Jude Deveraux’s A Knight In Shining Armor came out in 1989, sparking an entire subgenre of time travel romance, whose readers eagerly embraced mingled aspects of historical romance and science fiction. Marketing Outlander as a romance novel was the smartest move Gabaldon and her team made, a move Gabaldon was fine with at the time, provided she wouldn’t be saddled with the stigma of romance for the rest of her career:

Provided we had dignified covers — we wouldn’t have bosoms and Fabio and things like that — and also that if the books became visible, they would reposition them as fiction. Which they did. When Voyager, the third book of the series, hit the New York Times bestseller list, they very honorably redesigned the covers and started calling them fiction.

In other words, Gabaldon raked in romance reader dollars and used the genre to make her book a hit. She even won a prestigious RITA award for Best Romance in 1992 from Romance Writers of America (Gabaldon’s website lists this win as “Best Book” and takes pains to point out that non-romances can win the award; RWA’s website lists it as “Best Romance” and every other winner in the now-retired category have been romance novels). Then she took the money and ran.

In a piece at Book Riot, Jessica Tripler points out that many romance readers would agree that Outlander and its sequels aren’t romance novels, but by RWA’s definition, they most certainly could be. And there isn’t anything wrong with that. Romance readers buy more books than any other type of reader. There’s money to be had, and personal recommendations in the romance community are solid gold. So why, then, the reluctance to embrace the title of romance novel/author? Why does Gabaldon feel the need to mention Fabio and bosoms whenever the question arises? Does she believe that she or her books are somehow more legitimate because they’re no longer shelved in romance at Barnes & Noble? She states often that her books are wholly genre-less, but there are no similar sections on her website adamantly insisting that they aren’t science fiction. The only logical conclusion to come to is that “romance” is to authors as “cooties” are to children on a playground.

Romance readers will continue to embrace Gabaldon’s series, because they have no compunction about venturing into other aisles in the book store. They’re passionate about reading, love all types of stories and subgenres, and spend literally a billion dollars a year on books. Gabaldon knew it was a smart business move twenty-five years ago to align herself with the community; now, like a suddenly popular middle school student, she doesn’t know who her old friends are. Without romance readers, Outlander would have never found its audience. Maybe Gabaldon should remember that and be thankful to the genre, rather than fixating on and perpetuating cliches that contribute to the stigma against a genre that has loyally supported her for decades.

 

 

Let’s Get High And Watch The Craft!

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Hey everybody! You may recall that to celebrate Valentine’s day, I got high and recorded a Fifty Shades of Grey DVD-commentary style track that you could put on while watching the movie, and I make snarky little comments, etc. And some people liked that, so I decided that I would do it again. And then I was like, maybe I’ll do it more than once. So, today I offer you, perhaps for your Friday night viewing pleasure:

LET’S GET HIGH AND WATCH THE CRAFT!

The Craft movie poster, with four goth girls in Catholic school skirts walking in front of lightning.

That’s right, dear readers. I rolled three joints and took a trip down memory lane. If you join me up on this journey (cannabis optional), you’ll get to experience such Trout-household hits as “Jenny trails off mid-sentence as she tries to remember which movie she’s seen that person in before” and “Jenny confuses all the 90’s teen movies with Scream“. You’ll also hear me arguing with my grouchy old man dog (I think he barks twice toward the end of the movie, once where the bugs and shit are crawling all over the house, and the other during the very last scene), and the plaintive whining of my youngest dog, who got locked out of my office.

You’ll also get to enjoy the maddening click of my thirsty rat drinking almost an entire water bottle, because the only time that little fucker gets thirsty is when…you know what? I just realized why he might get that thirsty only at certain times.

Carry on.

You can download the .mp3 here. Hit play just after the Columbia Pictures music ends.

Is there a particular movie you’d like to watch with me via the magic of doing this? Leave it in the suggestion box. I can’t promise I’ll do all of them, but I’ll definitely do some.

Legion XIII Rome watch-along, “About Your Father” or “At least one character ends up happy. But like, just one.”

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A picture of a big roman number XIII, in front of an ominous sky, in the middle of a road through a field. In the crotch of the X, I, dressed as a centurion, naturally, am slumped over, sleeping. Bronwyn Green, dressed in a stola, is looking nervously at a harp, and Jess is depicted as the woman with a bloody knife from the DVD cover of season 2.

CW: Suicide

Here we are, at the last episode of the entire series. Which, if you check interviews as recent as 2013 with certain cast members, isn’t the end. There’s still talk that Bruno Heller is adapting the series into a movie, or crafting a third season. Which makes the ambiguity at the end of the show make a lot more sense.

Quick rundown of the episode:  Mark Antony’s bid against Octavian has failed. He has literally hit a dead end, because Octavian is going to be coming for Egypt and Antony with murder on his mind. In the forum, the news reader describes the victory, and calls Antony Cleopatra’s slave, and her a witch. So public sentiment has turned, most definitely.

At a dinner party with the mean girls, Livia tells a long, dramatic story about how cowardly Antony is. Octavia is at the point where she hates her brother and his wife so much, she’ll actually defend her husband. Meanwhile, Atia is catatonic with wondering what happened to turn her son into a monster.

I don’t want to point fingers here, Atia.

Antony promises Octavian that he’ll retire from public life if Octavian promises to let Cleopatra and her kids keep on ruling. Octavian wants nothing short of total surrender, and wants Pullo to convince Vorenus to open the palace so they can storm it, rather than burn it. They need a way to make it clear to Vorenus that the message is coming from Pullo, so Pullo tells them to mention his son, since Vorenus is the only other person who knows that Caesarion is his child. Pullo passes this off as an inside joke.

Inside the palace, that orgy scene from The Matrix: Reloaded is happening when Octavian’s messenger shows up to give him the bad news. Antony has moved on to his Apocalypse Now Brando phase. He’s all puffy and sweaty. Cleopatra suggests they escape the palace and live life on the run, but Antony thinks suicide is probably the better option. Vorenus tells the messenger that Pullo’s son is well, but those gates are not going to open, no matter what. Antony tells the messenger that he’ll engage Octavian mano a mano.

Which, of course, Octavian rejects totally. He knows he can’t burn down the palace or lay siege to it, so he sends Cleopatra a secret message while Antony kills a palace onlooker who laughs at him when he falls down. Antony asks the dude, “Do I amuse you? Am I a fucking clown?” because apparently Bruno Heller is really into Goodfellas.

The message Octavian sends Cleopatra promises that she, her children, and Egypt will be safe if she hands over Antony, dead or alive. Cleopatra is heartbroken, because she knows betraying Antony is dishonorable. She and Antony make a plan to kill themselves in the morning, because she doesn’t want to die in the dark. Antony decides to spend his last night on Earth drinking with Vorenus and remembering the men they’ve fought with over the years. Antony passes out in the throne room, and when he wakes, Cleopatra’s slave gives him the news that the queen has already killed herself. Antony is despondent. He kills himself by falling on Vorenus’s sword.

Vorenus dresses Antony and places him on the throne, at which point Cleopatra, totally not dead, comes in. Vorenus loses it and tells the queen she’s lucky he doesn’t kill her. He tells her that Octavian is going to take her back to Rome as a trophy, and murder Caesarion. Vorenus tells Cleopatra that he’s going to take Caesarion to his real father to protect him, but she’s like, uh, no, Octavian said everything is cool. But she sends Caesarion with Vorenus, anyway, and they escape the city.

Cleopatra meets with Octavian, who, in a spectacularly cold exchange of fake pleasantries that would make his mama proud, suggests that Cleopatra immediately leave with him to go to Rome. Like, tomorrow. Cleopatra realizes that everything Vorenus says is true; she’s going to be paraded through the forum like a prisoner of war and humiliated. She goes back to the throne room, where she apologizes to Antony’s dead body and commits orgasmic suicide by snake.

I wonder what happens if you want to commit suicide by snake and you can’t get the snake to bite you.

Octavian realizes too late that this might go down, and he should have taken her hostage when he had the chance. By the time they return to the palace, Cleopatra is already dying. With her final breaths, she tells Octavian that he has a rotten soul. Which is the kind of the thing that can shake up even Octavian. It’s worse when he tells Agrippa what she said, and Agrippa doesn’t really argue with that.

Pullo finds Vorenus’s picture of Niobe, and he realizes that Vorenus has taken Caesarion to safety. Still not vibing on the dynamic, Octavian sends Pullo after Vorenus and the boy. Meanwhile, Caesarion is having a real hard time grasping that he’s not royalty anymore. Pullo arrives and breaks the news to the kid that his mom killed herself, in the sensitive manner we’ve all come to expect from Pullo. He and Vorenus plan a route to get Caesarion out of Egypt.

Meanwhile, in Rome, Octavian brings Antony’s kids by Cleopatra to Octavia, like, hey, your husband sired these kids, they’re your problem now. Oh, and by the way, mom, your true love killed himself. Atia pretends to take it well, but obviously she’s destroyed.

In Egypt, Pullo and Vorenus run afoul of some Roman soldiers. They pretend to be grain merchants, but Caesarion blows their cover when he responds to a soldier who calls him “your highness”. Vorenus and Pullo take on the soldiers and kill them all, but Vorenus is seriously wounded. He’s worried he’s going to die, and he tells Pullo to take him back to Rome, because he doesn’t want to die on the Egyptian Road Trip That Never Ends.

Octavian’s triumph is coming up, but Atia is too despondent to go. Octavia reminds her that this triumph is the culmination of a lifetime of political maneuvering and personal manipulation. She tells her mother that

Somehow, Vorenus has survived an entire month with a gut wound. I feel like if you’ve survived for that long, you’re probably going to be fine, but we never find out if he is or not. There is a long, glorious moment in which Pullo and Vorenus hold hands, until Vorena the Elder comes in and kisses her father’s forehead. All the kids come in, and apparently they forgive him.

At the triumph, all the women are lining up. Livia tells Octavia that Octavian will be angry that Atia isn’t there. Livia tells everyone to line up “in order of precedence,” and Atia enters looking like a goddamn black widow spider. She breezes right past Livia, to the head of the processional. Livia tries to put Atia in her place by telling her that the priests say the wife should walk ahead of the mother. To which Atia says, and this is a direct quote, “I don’t give a fuck what the priests say. I’ll not let a vicious little trollop like you walk ahead of me. I go first.” And Livia tries to call her crazy, in the most saccharine way possible. As Octavia looks on proudly, Atia tells her, “You’re swearing now that someday, you’ll destroy me. Remember, far better women than you have sworn to do the same. Go and look for them now.”

And then this shot happens:

In front of an open door with blinding bright white light showing through a curtain with Octavian's picture on it, we see Atia from behind, standing in the center of and just slightly ahead of Livia and Octavia. It's really powerful, as Atia is framed by the doors and you get a sense that it's really her triumph, more than Octavian's.

But for as triumphant as Atia is in the moment, she’s totally cold as she watches her son riding into the forum as Caesar. They parade the rotting corpses of Antony and Cleopatra through the streets, and Atia turns to her son, realizing she’s basically worked her entire life to destroy herself and put a monster on the throne.

After the triumph, Pullo goes to Octavian and tells him that he killed Caesarion and meant to bring back the boy’s head, but it was so rotten he had to throw it away. He tells Octavian that Vorenus “didn’t make it”, but since he’s lying about everything else, it’s probably safe to say he’s lying about Vorenus’s death, too. As Pullo walks through the streets with his son, who has vengeance on his mind. He’s going to bring glory back to his father’s name, to which Pullo says, “Listen…about your father.”

And that’s it. That’s the whole series.

My favorite part of the episode: Atia’s bad ass confrontation with Livia. Even after Servillia’s curse, even after losing the love of her life and watching her son turn into a monster and her daughter turn into, well, her, she comes out with her dignity in tact. And that might not seem like much considering how terrible her life is turning out, but to Atia, appearances are more important than anything, so in a way, she’s won.

My least favorite part of the episode: When Cleopatra realizes that Vorenus is right, and she’s now basically Octavian’s slave. I feel so bad for Cleopatra throughout this series, because she’s always on the run or doing something she has to do to keep her country safe. And everything is really sad, because I think she did love Antony, even though she was manipulating him the entire time. Then she has to lose her children

Favorite costume: I have not given enough love to the News Reader, so for this final week, this spot goes to him and his fantastic teal getup.

For the guy who's basically the Dan Rather of Rome, the Newsreader's clothes are sewn pretty rough, but the fabric is neat. It's all different shades of blue and green and white and black woven together, with an awesome bronze pin about the size of a bread plate at his shoulder.

Team Atia or Team Servilia: Atia all the way. She’s classy enough to give a nod to Servilia when she verbally smacks Livia, but confident enough to remind everyone who the real winner is in Rome.


What hairdo or costume would Bronwyn steal? I’m going to go with Atia’s dress for the triumph, because it seems like the kind of thing Bronwyn would actually wear.

Atia's dress is really dark blue and tight and silky, with sheer sleeves. She's got a red scarf thing that's very gossamer and sheer, as well. Her hair is totally huge, like she's a Roman Marie Antoinette.

Guess Jess’s head canon. Vorenus doesn’t die. He recovers, and he and Pullo finally realize their love and bisexuality, together.

That’s it for #LegionXIII. Thank you to everyone who joined us on Monday nights for a good time! Now go check out Bronwyn’s post, as Jess’s hand lost a fight to an avocado about halfway through this season.

#LegionXIII Rome watch-along, S01E10 “Triumph” or “It’s hard to come up with funny titles when everything is so goddamn grim”

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A picture of a big roman number XIII, in front of an ominous sky, in the middle of a road through a field. In the crotch of the X, I, dressed as a centurion, naturally, am slumped over, sleeping. Bronwyn Green, dressed in a stola, is looking nervously at a harp, and Jess is depicted as the woman with a bloody knife from the DVD cover of season 2.

Quick rundown of the episode: In a final bit of humiliation, Cicero and Brutus go before the senate and say Caesar should be declared emperor of Rome. And Caesar is like, “Cool, thanks. By the way, if any of you fuckers step out of line again, I’ll murder you.”

Servillia is still recovering from the brutal attack by Atia’s men, and Atia stops by to pretend to care and to call Brutus a coward. Also, to invite Servillia to sit with the family at Caesar’s triumph. And Servilia plays the game right back, asking where Octavia went and why. Octavia has joined a cult that encourages self-harm, since, you know. Her girlfriend of two years tricked her into incest. Octavian shows up to take Octavia home, but she doesn’t want to go. This is only the latest incident in which Octavia is made to do something she doesn’t want to because her family’s public appearance is more important than her happiness.

Speaking of people not wanting their kids to be happy, Servilia continues to passive-aggressively remind Brutus that he should have killed himself rather than submit to Caesar. She starts a little book club of traitors with Quintus Pompey and Casius, and even writes a treasonous pamphlet in Brutus’s name. Which, you know, isn’t a great idea. Servilia isn’t so much concerned with restoring the Republic as she is getting back at the Julii, which Brutus points out. But it’s cool, Caesar is fine with Brutus, probably because he recognizes Servilia’s writing after eight years of corresponding via scroll.

Lucius Vorenus has started his political career, and he’s not really very good at it. Posca is trying to do a kind of Pretty Woman thing, trying to turn a soldier into a magistrate, but Niobe isn’t as good at handling the people as Vorenus is. Also, there are hired goons willing to remove hecklers, like at a Trump rally. Pullo, meanwhile, is going through the unemployment blues. He’s been told he can’t march in Caesar’s triumph, which is kind of shitty seeings as how he basically saved Rome and stuff. But he’s got a plan. He’s going to win Eirene’s heart by buying her freedom from slavery, and then he’s going to marry her.

Caesar’s triumph is a big deal. Everyone gathers in the forum to watch Caesar ride in on a chariot with his face all painted with blood, and hey, remember Vercingetorix, king of the Gauls? He’s been in prison this whole time. They tart him up and trot him out to be executed in front of the cheering, happy crowd. If you want to know how they execute him, ride in the backseat of Bronwyn Green’s Saturn Ion with the seatbelt on. That, but then you just get left to rot in the town square.

Pullo buys Eirene’s freedom and goes back to the Aventine to give her the good news and a brand new dress. She’s as happy as he expected her to be. As is the man she’s in love with, another slave in the Vorenus household. Hearing this, Pullo snaps and smashes the guy’s head into a column over and over until he kills him. While Eirene screams and Niobe tries to comfort her, Vorenus scolds Pullo for scaring the children and destroying Vorenus’s property. Vorenus feels disrespected, and he and Pullo nearly come to blows (not that kind, Jess), and Pullo leaves. In a tavern, Erastes Fulmen approaches him and offers him a job, which, you know, is probably not a great offer to take.

My favorite part of the episode: It’s a very small moment, but when Vercingetorix’s body is dumped in the garbage, a small group of Gauls take quietly from the city and build a funeral pyre as a proper sendoff.  It’s pretty touching.

My least favorite part of the episode: Eirene’s screaming after Pullo kills her boyfriend. I dreaded it on this rewatch, and even watching the episode again to write the summary, I muted it. That actress is amazing, because those screams have haunted me since the first time I saw this air on HBO years ago. Like, this scene is Adriana-getting-dragged-out-of-the-car-on-The-Sopranos level haunting for me.

Favorite costume: Servilia is wearing a drapey gown that covers her hands and feet, even, in a light cream color, with a matching turban/head wrap thing.

Team Atia or Team Servilia: Servilia. She wrote political propaganda to attack her former lover, and is cooking up a campaign to destroy his whole family. I admire her dedication.

Favorite watch-a-long tweet:

What hairdo or costume would Bronwyn steal? Niobe’s blue stola:

Niobe is wearing a stola of two different shades of blue, and a long cape thing over her head like the virgin mary or something.

Guess Jess’s head canon. I feel like she’s probably looking forward to the comfort side of some hurt/comfort.

Now go check out Bronwyn’s and Jess’s posts, and join us Monday at 9 PM EST for season one, episode eleven, “The Spoils”. Tweet to #LegionXIII to join us!

 

Jealous Hater Book Club: Apolonia Chapter 15

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Recently, a friend asked me if I had stopped doing these recaps. And I was like, yeah, I had to, because they were putting my dog to sleep. But I was just kidding. I’m hilarious like that.

Anyway, no I haven’t stopped, and I’m not going to stop, because I’m over halfway done with this, and there’s no sense in putting myself through the first 66% of the book and not finishing. It would be like letting a Civil War surgeon on a dirty battlefield half amputate my leg and then just leave the job unfinished.

A word of caution here: due to recent injury, I’m using dictation software to write this recap. So some stuff will probably look weird, and I will likely not catch it when I edit. It’s just my luck.

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