Yeah I was reading that before...it just sounds like he's on repeat.
I don't understand his use of 'have a history' in relation to hooking up. I mean it's not that kind of history.
It's the 'Hey, remember that time I almost killed your whole family?...Weird how things are so different now.' 'Yeah!...And then, how I tried to kill you about 3 times in the space of 2 days in revenge?...Good times.' kind of history.
I love and adore Charlie x Bass - in every form. And I love the suggestion (in his manner, and what he says to her) that he likes her, because everyone - absolutely EVERYONE, even Tom - would throw their hands up all OH F**K NO if Bass just hinted at it to anyone. And if he admitted it to himself, it gets even angstier. She's not in the same place in whatever their relationship is, and I don't see her getting there very easily. IMO she's not in love with him, she's not in love with anyone, she's not even really liking herself right now - but she's starting to understand him, they're not strangers anymore; if he's standing beside her, she's not questioning it; if their eyes meet, it's familiar, it's continuous. Their dynamic is growing.
But if he admits it to himself (/accepts it), that he appreciates Charlie's company, that she's interesting and infuriating and yet someone he needs to keep around...I'd love to see him start working on her the way he's working on Miles - What do you want? What are you doing? Why are you here? Why are you fighting? Do you trust me? - two Mathesons are better than one, after all.
And maybe if he realised that Charlie was good for Miles (good for him and Connor too), that there's balance with the four of them -- so he sets his sights on convincing them to join Republic 2.0. Ignoring his own (possibly) selfish reasons for wanting to find a reason for Charlie to be in his orbit.
(I don't need Charlie and Bass to hook up, exactly - love it if they did, drunkenly or under some kind of hallucinogen, inhibitions gone - I just want to see that it's not so simple as HE did bad stuff and bad stuff happened and that's it. I want moments that can be read either as them realising there's something there or that they're not in control around each other, I wanna see the connection. They don't have to be all over each other for it be amazing.)
The Bonus scoop is probably nanite related.
I mean if the nanites can show Aaron, Priscilla and that other guy dead people to freak them out. Why not do that to a wider audience?
I don't understand the motivation of the nano, but I can't see it not wanting to control things...and my imagination of course throws out everyone in the middle of a major battle, guns firing, swords swinging, arrows and punches and blood and explosions...and then suddenly pins stop firing and the guns go silent, the arrows dissolve and everyone just stops and stares.
Each of them seeing someone dearly departed standing right in front of them. And hilts drop from numb hands, Patriots and civilians drop to their knees, some people stop breathing. No one's paying any attention to anyone else - their worlds narrowed down to their own vision: Danny for Charlie, Ben for Miles, Charlotte for Gene, Bass' sisters, Emma for Connor, Cynthia for Aaron, and a crowd of everyone Rachel's killed directly and indirectly, for Rachel.
And close up of Charlie's face, tears running down her cheeks, Miles barely breathing as he stares into his brother's face, Bass looking fearful and frozen, Aaron looking resigned, Rachel turning around to stare at every dead face, fingers clenching at her side.
The world silent.
And then fade to black...'To be continued'
S3 - So, how do we live under the control of tiny machines? And do we tell people? And can we sort out some of our issues now? Coz they're just getting worse.
I don't understand his use of 'have a history' in relation to hooking up. I mean it's not that kind of history.
It's the 'Hey, remember that time I almost killed your whole family?...Weird how things are so different now.' 'Yeah!...And then, how I tried to kill you about 3 times in the space of 2 days in revenge?...Good times.' kind of history.
I love and adore Charlie x Bass - in every form. And I love the suggestion (in his manner, and what he says to her) that he likes her, because everyone - absolutely EVERYONE, even Tom - would throw their hands up all OH F**K NO if Bass just hinted at it to anyone. And if he admitted it to himself, it gets even angstier. She's not in the same place in whatever their relationship is, and I don't see her getting there very easily. IMO she's not in love with him, she's not in love with anyone, she's not even really liking herself right now - but she's starting to understand him, they're not strangers anymore; if he's standing beside her, she's not questioning it; if their eyes meet, it's familiar, it's continuous. Their dynamic is growing.
But if he admits it to himself (/accepts it), that he appreciates Charlie's company, that she's interesting and infuriating and yet someone he needs to keep around...I'd love to see him start working on her the way he's working on Miles - What do you want? What are you doing? Why are you here? Why are you fighting? Do you trust me? - two Mathesons are better than one, after all.
And maybe if he realised that Charlie was good for Miles (good for him and Connor too), that there's balance with the four of them -- so he sets his sights on convincing them to join Republic 2.0. Ignoring his own (possibly) selfish reasons for wanting to find a reason for Charlie to be in his orbit.
(I don't need Charlie and Bass to hook up, exactly - love it if they did, drunkenly or under some kind of hallucinogen, inhibitions gone - I just want to see that it's not so simple as HE did bad stuff and bad stuff happened and that's it. I want moments that can be read either as them realising there's something there or that they're not in control around each other, I wanna see the connection. They don't have to be all over each other for it be amazing.)
The Bonus scoop is probably nanite related.
I mean if the nanites can show Aaron, Priscilla and that other guy dead people to freak them out. Why not do that to a wider audience?
I don't understand the motivation of the nano, but I can't see it not wanting to control things...and my imagination of course throws out everyone in the middle of a major battle, guns firing, swords swinging, arrows and punches and blood and explosions...and then suddenly pins stop firing and the guns go silent, the arrows dissolve and everyone just stops and stares.
Each of them seeing someone dearly departed standing right in front of them. And hilts drop from numb hands, Patriots and civilians drop to their knees, some people stop breathing. No one's paying any attention to anyone else - their worlds narrowed down to their own vision: Danny for Charlie, Ben for Miles, Charlotte for Gene, Bass' sisters, Emma for Connor, Cynthia for Aaron, and a crowd of everyone Rachel's killed directly and indirectly, for Rachel.
And close up of Charlie's face, tears running down her cheeks, Miles barely breathing as he stares into his brother's face, Bass looking fearful and frozen, Aaron looking resigned, Rachel turning around to stare at every dead face, fingers clenching at her side.
The world silent.
And then fade to black...'To be continued'
S3 - So, how do we live under the control of tiny machines? And do we tell people? And can we sort out some of our issues now? Coz they're just getting worse.
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