What a lovely and immersive post. What bothered me about Simon's window in his room was the crooked (maybe broken) blind covering it. I found it distracting. And it really illustrated how small the window is. And I got the feeling that his bedroom wasn't a real bedroom. It's an anteroom off the laundry room. He doesn't even have a door to close, just a curtain. Speaks to their working class lives. And the aquarian must help him to breathe.
One other thing I noticed in another room, Wilhelm's room. When Simon comes to see if he's alright after Wilhelm bails because he feels sick, Wilhelm invites him in, they talk very movingly and then have sex, and right above the bed are all the speech cards Wilhelm is supposed to be studying and learning in prep for the jubilee speech. Interesting that they are intimate right under the scripted words Jan Olof (or somebody official) wants him to say. All very proper and controlled. Foreshadowing Wilhelm going rogue on the fateful jubilee day.
Again, I applaud your extensive posts and knowledge base. As usual, makes my day to see your blog in my inbox. I'll be reading through this current post again, gives me great pleasure. Thank you.
Yes, absolutely. That lopsided blind is just the icing on the cake of ugh, isn't it? Absolutely agree! Makes me shudder when I think about it.
As far as the laundry room goes, I have a bit of a rather wild (read: crazy) theory on its metaphorical meaning, which I'm currently mulling over. Not sure yet.
The flash cards on the wall are exactly what you're saying there. That's exactly right, in my humble opinion. And it's all hanging in Wilhelm's room, i.e. his life as Crown Prince (cf. the 'room' metaphor), too. Very nice visual storytelling there, that connects brilliantly to the metaphorical subtext. I love stuff like this.
Anyway, thank you for your comment. And I'll give the compliment right back: Always great to post something and find thoughtful and interesting comments underneath the next day. Thank you for reading, and thank you for sticking around.
Thank you ever so much for once again sharing your analysis with us. I brings so much more meaning to the show. And as a results I spent the morning re-watching every graveyard scene. And with regards to that, please know that the Christmas tree in S1:E6 is not strangely located, but a quite common thing to do outside any countryside church.
Thank you! I had an inkling it might be a cultural thing (which is why I added that line). But I think we shouldn't dismiss the strategic use of it, anyway. Things can exist for absolutely 100% realistic reasons (cultural, religious, ethnic, whatever) and still be cleverly used by a show or movie. After all, it's the camera that you have to position to produce a shot. And you can position a camera in a myriad different ways in a place as spacious as a graveyard. (In which direction do you shoot? At what angle? What shot size? With camera movement or without? With a shallow depth of field or a deep one? etc.) When something ends up on the right side of your frame and conveniently hides a lot of gravestones behind it, that's great. If that thing is also there for a totally realistic reason that doesn't strain belief, even better. Does that makes sense?
The lake will always be there, and the window in the music room will also always be there. It's up to the cameraperson and the director to make something clever with these two things that links them and creates meaning ex nihilo where there was only a lake and a window before.
Anyway, thank you again for telling me this. Now, I really have to check out where the Christmas trees are in my corner of the world once the season comes round again. Maybe we put them there as well, and I just never noticed.
There's another tree or bush that is interesting. There is a small tree/bush in a container by the discus statue where the jubilee setup is. Earlier on, it is green. When Jan Olof is marching around ordering what goes where in advance of the jubilee, that tree in the planter is brown and dead. I first (as a gardener) thought, well, the winter has come and killed it. Now, of course, I'm sure it has a totally different meaning. It's all deliberate. But what, I don't know... A living plant is a symbol of life, vibrancy, care. Plants need water and attention, etc. So someone let that plant die and then left it there. Not a good look for a fancy school. Anyway, another clue to something.
I'm actually planning a post about how to read symbolism that's achieved through props for this weekend. (Not about this plant, about another prop, but I'm going to explain how to best approach details like props when analyzing them.)
And now I have to go and check out this little green bugger you've mentioned (or rather non-green and wilting bugger). But you're right, stuff like this doesn't happen by coincidence. A wrong sock on a foot, cigarettes that grow longer throughout the scene while being smoked – those are the kinds of continuity errors that typically happen. Potted plants don't appear magically in a frame.
That's also one of the reasons why I don't believe that that huge blossoming cherry tree in season two ended up in the frame by coincidence as many people claim. It's an unusual choice, sure. But it's a gigantic tree. If you don't want it in the frame, you move your camera about five metres or so, and you've solved the problem. So, that one is definitely deeply meaningful, as well. It has to be.
Anyway, thank you for pointing out the plant. I'll definitely check it out (just a bit swamped right now with all the typing...)
Yes! I've noticed the blooming cherry tree-heralding spring in my part of the globe. It's in the scene where Rousseau is being carted off and when Simon comes to talk to Marcus and Marcus says some pretty interesting things about drama, spoiled brats and Simon being a victim. I will be interested in your 'prop' post. I've noticed two wardrobe 'goofs' but maybe they are deliberate. I actually don't think they are but I defer to your ongoing excellent eye.
Wardrobe 'goofs' are usually just goofs, in my experience. But a cherry tree doesn't somehow magically materialize in a shot when you can simply move your camera a bit and make sure it doesn't end up in your frame.
Yeah, I agree, the Christmas tree is used intentional even though it's in a non-strange position. To me it symbolises hope (an inherited feature of Christmas) strongly connected with the hope that Simon voices through the beautiful lyrics of "Betlehem's star,".
On a similar (but polar opposite) note. Yes, the containers outside Simon's house are very likely rubbish and/or recycling bins. That whole scene is so strong, message wise and visual. The crown prince (very unstyle) being dumped in the backyard in front of the trash bins.
I had just sent the other comment and then noticed I had forgotten to ask you about the container. So, thank you very much for getting back to me. I was just about to contact you again.
And yeah, that whole scene is really...a lot.
As far as the Christmassy stuff is concerned, I wrote a thing about it a while ago. And while it's over on the paid-subscriber side of the blog, all of the Christmas stuff is definitely above the paywall and freely accessible for everyone. Just in case you're interested.
Woo hoo, another TVMicroscope article! I am sure I will have more comments, but before I forget I must mention that, in the tradition of something tragic always looming over Simon and Wille's happy scenes together...."Simon and Wilhelm agreeing to spend the weekend in Bjärstad together: specifically in front of a window". During that moment, Wille receives a phone call and declines it. That was the first call from the Royal Court/or his Mother informing him of Erik's death. Simon is Wille's way out, but tragedy always reaches its ugly cold hand out to these boys....
And the horror film! I love how it works with that scene -- I heard an interview with Lisa that the horror film dialogue was added by the cracker jack editing team. I had noticed the "this is about us now" line, but I didn't get the "what about the kid" reference -- of COURSE -- an explicit reference to the expectation of reproduction forced upon Wille's life
I came back to read this post becaue the Season 3 teaser is beautifully filmed with windows behind our dear Wilmon. So much to think about! https://www.youtube.com/watch?v=Awa39b8uBmY
Oh wow... being dumped in front of a dumpster... Ouch! I see all the beautiful depths of symbolism you're pointing out here too, but in a lot of ways it also just feels so literal.
Almost like the phallic fountain erupting that you pointed out regarding S2E6, but obviously with a much sadder undertone.
What a lovely and immersive post. What bothered me about Simon's window in his room was the crooked (maybe broken) blind covering it. I found it distracting. And it really illustrated how small the window is. And I got the feeling that his bedroom wasn't a real bedroom. It's an anteroom off the laundry room. He doesn't even have a door to close, just a curtain. Speaks to their working class lives. And the aquarian must help him to breathe.
One other thing I noticed in another room, Wilhelm's room. When Simon comes to see if he's alright after Wilhelm bails because he feels sick, Wilhelm invites him in, they talk very movingly and then have sex, and right above the bed are all the speech cards Wilhelm is supposed to be studying and learning in prep for the jubilee speech. Interesting that they are intimate right under the scripted words Jan Olof (or somebody official) wants him to say. All very proper and controlled. Foreshadowing Wilhelm going rogue on the fateful jubilee day.
Again, I applaud your extensive posts and knowledge base. As usual, makes my day to see your blog in my inbox. I'll be reading through this current post again, gives me great pleasure. Thank you.
Yes, absolutely. That lopsided blind is just the icing on the cake of ugh, isn't it? Absolutely agree! Makes me shudder when I think about it.
As far as the laundry room goes, I have a bit of a rather wild (read: crazy) theory on its metaphorical meaning, which I'm currently mulling over. Not sure yet.
The flash cards on the wall are exactly what you're saying there. That's exactly right, in my humble opinion. And it's all hanging in Wilhelm's room, i.e. his life as Crown Prince (cf. the 'room' metaphor), too. Very nice visual storytelling there, that connects brilliantly to the metaphorical subtext. I love stuff like this.
Anyway, thank you for your comment. And I'll give the compliment right back: Always great to post something and find thoughtful and interesting comments underneath the next day. Thank you for reading, and thank you for sticking around.
Thank you ever so much for once again sharing your analysis with us. I brings so much more meaning to the show. And as a results I spent the morning re-watching every graveyard scene. And with regards to that, please know that the Christmas tree in S1:E6 is not strangely located, but a quite common thing to do outside any countryside church.
Thank you! I had an inkling it might be a cultural thing (which is why I added that line). But I think we shouldn't dismiss the strategic use of it, anyway. Things can exist for absolutely 100% realistic reasons (cultural, religious, ethnic, whatever) and still be cleverly used by a show or movie. After all, it's the camera that you have to position to produce a shot. And you can position a camera in a myriad different ways in a place as spacious as a graveyard. (In which direction do you shoot? At what angle? What shot size? With camera movement or without? With a shallow depth of field or a deep one? etc.) When something ends up on the right side of your frame and conveniently hides a lot of gravestones behind it, that's great. If that thing is also there for a totally realistic reason that doesn't strain belief, even better. Does that makes sense?
The lake will always be there, and the window in the music room will also always be there. It's up to the cameraperson and the director to make something clever with these two things that links them and creates meaning ex nihilo where there was only a lake and a window before.
Anyway, thank you again for telling me this. Now, I really have to check out where the Christmas trees are in my corner of the world once the season comes round again. Maybe we put them there as well, and I just never noticed.
There's another tree or bush that is interesting. There is a small tree/bush in a container by the discus statue where the jubilee setup is. Earlier on, it is green. When Jan Olof is marching around ordering what goes where in advance of the jubilee, that tree in the planter is brown and dead. I first (as a gardener) thought, well, the winter has come and killed it. Now, of course, I'm sure it has a totally different meaning. It's all deliberate. But what, I don't know... A living plant is a symbol of life, vibrancy, care. Plants need water and attention, etc. So someone let that plant die and then left it there. Not a good look for a fancy school. Anyway, another clue to something.
I'm actually planning a post about how to read symbolism that's achieved through props for this weekend. (Not about this plant, about another prop, but I'm going to explain how to best approach details like props when analyzing them.)
And now I have to go and check out this little green bugger you've mentioned (or rather non-green and wilting bugger). But you're right, stuff like this doesn't happen by coincidence. A wrong sock on a foot, cigarettes that grow longer throughout the scene while being smoked – those are the kinds of continuity errors that typically happen. Potted plants don't appear magically in a frame.
That's also one of the reasons why I don't believe that that huge blossoming cherry tree in season two ended up in the frame by coincidence as many people claim. It's an unusual choice, sure. But it's a gigantic tree. If you don't want it in the frame, you move your camera about five metres or so, and you've solved the problem. So, that one is definitely deeply meaningful, as well. It has to be.
Anyway, thank you for pointing out the plant. I'll definitely check it out (just a bit swamped right now with all the typing...)
Yes! I've noticed the blooming cherry tree-heralding spring in my part of the globe. It's in the scene where Rousseau is being carted off and when Simon comes to talk to Marcus and Marcus says some pretty interesting things about drama, spoiled brats and Simon being a victim. I will be interested in your 'prop' post. I've noticed two wardrobe 'goofs' but maybe they are deliberate. I actually don't think they are but I defer to your ongoing excellent eye.
Wardrobe 'goofs' are usually just goofs, in my experience. But a cherry tree doesn't somehow magically materialize in a shot when you can simply move your camera a bit and make sure it doesn't end up in your frame.
Hi again!
Yeah, I agree, the Christmas tree is used intentional even though it's in a non-strange position. To me it symbolises hope (an inherited feature of Christmas) strongly connected with the hope that Simon voices through the beautiful lyrics of "Betlehem's star,".
On a similar (but polar opposite) note. Yes, the containers outside Simon's house are very likely rubbish and/or recycling bins. That whole scene is so strong, message wise and visual. The crown prince (very unstyle) being dumped in the backyard in front of the trash bins.
Yes! Brilliant. Thank you.
I had just sent the other comment and then noticed I had forgotten to ask you about the container. So, thank you very much for getting back to me. I was just about to contact you again.
And yeah, that whole scene is really...a lot.
As far as the Christmassy stuff is concerned, I wrote a thing about it a while ago. And while it's over on the paid-subscriber side of the blog, all of the Christmas stuff is definitely above the paywall and freely accessible for everyone. Just in case you're interested.
https://tvmicroscope.substack.com/p/the-symbolism-of-holidays-on-tv-santa
(The star will definitely come up again, too. Because it's important for the subtext in a different way, as well.)
Anyway, thank you again.
Woo hoo, another TVMicroscope article! I am sure I will have more comments, but before I forget I must mention that, in the tradition of something tragic always looming over Simon and Wille's happy scenes together...."Simon and Wilhelm agreeing to spend the weekend in Bjärstad together: specifically in front of a window". During that moment, Wille receives a phone call and declines it. That was the first call from the Royal Court/or his Mother informing him of Erik's death. Simon is Wille's way out, but tragedy always reaches its ugly cold hand out to these boys....
And the horror film! I love how it works with that scene -- I heard an interview with Lisa that the horror film dialogue was added by the cracker jack editing team. I had noticed the "this is about us now" line, but I didn't get the "what about the kid" reference -- of COURSE -- an explicit reference to the expectation of reproduction forced upon Wille's life
I came back to read this post becaue the Season 3 teaser is beautifully filmed with windows behind our dear Wilmon. So much to think about! https://www.youtube.com/watch?v=Awa39b8uBmY
Oh wow... being dumped in front of a dumpster... Ouch! I see all the beautiful depths of symbolism you're pointing out here too, but in a lot of ways it also just feels so literal.
Almost like the phallic fountain erupting that you pointed out regarding S2E6, but obviously with a much sadder undertone.