I've Only Been In The Jekyll And Hyde Fandom For A Few Months, But One Thing I've Noticed Is That Most

How the Winter Soldier shot Nick Fury

I’ve been wanting to make a post about this for a while, even though I might be the only person invested in this, but anyway, here we go. I’ve seen mentioned several times, in posts about the movie and in fics that the Winter Soldier shot Nick Fury through the window of Steve’s apartment, and every time it makes me groan in frustration because no.

The Winter Soldier didn’t shoot Fury through a window, he shot him through a wall, and I don’t know about you, but it seems like a pretty big difference to me.

(bullet hole in the wall!!)

When I saw the scene the first time, I remember thinking holy shit??? that’s crazy, and for me that’s when the Winter Soldier really became a real, terrifyingly good assassin, that’s when his image as a serious threat solidified.

Read about the blogger getting carried away under the read more.

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“No, sir, that thing in the mask was never Dr. Jekyll—God knows what it was, but it was never Dr. Jekyll”.

This quote hit me like a ton of bricks on this read. The image of a masked “thing” moving about the room is chilling in itself, but also because. I mean. In a way it’s true. It was never Jekyll. “It”, what’s behind that door, was never the Henry Jekyll that Poole and Utterson knew because that person never existed, and it was never simply Edward Hyde either, it was literally a mask. A thing with a mask. Whether the mask was Jekyll or Hyde, it was a mask. The good doctor was a performance, and the eerie man from Soho was a physical alteration with a fake name… It was never Dr. Jekyll.

*in a confession booth* i enjoy making jekyll a pretty boy so i can watch him ruin his life and cry and scream and whither and be beautiful while doing it. i enjoy giving him features i find very attractive and distorting them whenever he transfers into hyde.

i enjoy his outer beauty meaning nothing in the face of the ugliness inside himself

All the way through The Last Night, we have these last vestiges of social and domestic order, of rationality, of normality, being clung to in the face of an impending total chaos, which eventually takes them over. We have the deeply eerie moment where Hyde's body is found; this domestic scene apart from the horror of the dead body. We have the sudden visibility of Jekyll's servants in general who, socially, ought not to be visible, and especially visible while doing nothing - and we have Utterson's indignation over this, as he's trying to comprehend and maintain a sense of control.

But I think the most striking revelation here is Poole.

Poole has been undoubtedly present throughout the book, but flies under the radar while the novella focuses our attention on the interactions of the upper-middle class friends. In terms of maintenance of social order and normality, that's absolutely how it ought to remain. Poole answers to Jekyll; when he actively seeks out Utterson without Jekyll's knowledge, he's acting outside of the social rules he ought to adhere to. He's implying that the situation is beyond the remedy of social order. (Note how Utterson immediately brings out the wine, which has an association in the novella with social order, status and power. Yet, Poole will not drink it.)

This then results in this fascinating "tug-of-war" of sorts as Utterson and Poole try to grapple with a situation that moves beyond order and rationality into chaos. Poole becomes an active player where his class ought not to allow it, yet, this only works so far as Utterson allows himself to be lead by Poole. And so Poole is very careful about walking the line! Although he takes the plunge in going to Utterson, he's very slow to tell what he's witnessed, and what he thinks. Instead he first expresses the extent of his fear, and how serious he believes the situation to be, to justify acting out of line. This is even as Utterson, wanting to help, wanting to establish a sense of control, asks Poole to be plain and open with him. Then, at Jekyll's home, knowing Utterson adheres to reason, (and that it's not his place to tell him what to think), Poole provides Utterson with firsthand evidence, so the conclusions are Utterson's. Poole reveals piece by piece, the more straightforward proof first, to gain Utterson's trust in his rationality.

He tries to lead Utterson to voicing his own fears, and enacting what he wants to enact. And it's truly awful, because Poole is trying desperately to lead Utterson, step-by-step, to the conclusion that his best friend has been murdered, and it's the last thing in the world Utterson wants to conclude. Understandably, he tries to reason anything else. But, after having been kept in the dark so long, and continually skirting the truth, things finally seem to be adding up in a way that is impossible to deny. And it's not the rational that convinces Utterson, but the emotional, the sense of abnormality and wrongness. Poole's more solid "evidence" Utterson can wave away as illness, but the protest that Poole knows Jekyll and thus that the figure couldn't be him, is what he can't find a way out of. There's a degree of chaos where Poole's seperation from Jekyll through class falls away, and all that really matters is that, yes, he knows him. And this is where Utterson gives.

And. Both Poole and Utterson, and their differing class positions, are needed to finally break down the barrier that is the door. As a servant, Poole can't make the choice to go against his master, especially in such a violent, dramatic way, without creating a whole new suite of problems. He needs Utterson to confirm he's justified, to order the thing done, and to protect him. As Jekyll's friend, Utterson has been shut out and made incapable of seeing the situation as Poole does. All the more, he still can't bring himself to use to own hand in force against the barriers Jekyll's placed around himself. That climatic, chaotic action can only result from Poole and Utterson acting in combination, and acting in ways that muddy typical class interactions.

assigning gravity falls characters fnaf 1 animatronics

mabel is chica. she's a party girl, she loves confetti, and who else would be the one carrying around a cupcake sidekick?

stan is freddy. leader of the group, not as active, but will b-line it to you if you lose power

dipper is bonnie. blue and purple, matches with chica, teleports because he's anxious about being seen moving

fiddleford is foxy. it's possible to forget he's there, but he's unpredictable and you need to keep an eye on him without keeping too close an eye on him. he scurries REAL quick

ford is golden freddy because

he doesn't exist. it's just a hallucination, sherm. it's me, it's not me, don't pay him any mind. look away. look anywhere else. pretend he isn't there cause he isn't. just focus on your job

Have you ever realized that Utterson treats Jekyll like a damsel in distress?

Like it's always like "I have to save Jekyll from the arms of this evil man". And like he's only interested in Hyde because he thinks that Jekyll is in danger. And just for record he even has a conversation with Jekyll from a window. Kind of, in Utterson's view Jekyll is a victorian 50-year-old damsel in distress

It's just. Edward Hyde is an incredibly violent person with no sense of shame or morals or limits, but he still is polite enough to have breakfast at your home and be an unremarkable guest. He's a soft-spoken young man with good taste and nerves of steel and a crazed homicidal maniac getting hard over turning a defenseless old man into an unrecognizable pile of offal. He's a monster in every sense of the word and yet he perfectly blends into the crowd and can afford to be called a gentleman. Do you see it.

big fan of liars. big fan of characters whose entire existence is a facade. love it when everything's stripped away from them and the lie is the only thing left of their identity. love it when the lines between an act and the truth are blurring. are they even them without the lie? the lie doesn't become the truth per se, but it's now such an intricate part of them it might as well be.

Rouben Mamoulian: Dr. Jekyll and Mr. Hyde (1931)

The feeling when you have just found out your theory of multiple personality is true, proven your scientific research by taking a drug that releases the evil side in yourself, felt great pride and joy in your work, laughed at your skeptics, and then your nosy servant interrupts and asks about strange noises.

one of my favourite aspects of jekyll & hyde is the state of the room when utterson and poole have broken down the door. it's the incongruous tidiness, the peacefulness and cosiness of the room despite the fact that - as we learn - jekyll/hyde has spent all his final days in there weeping, pacing, knowing himself to be all but doomed. it's almost like another element of the horror - it would make sense and would match utterson's expectations if it were in greater disarray (broken glass, etc) but instead we get the implication that if it was the end, at least jekyll/hyde decided it would be with dignity, with the kinds of final comforts he was so accustomed to. utterson's very first impression when he comes into the room is how pleasant and neat it is, and only then he sees the body. all that normalcy and in the middle of the room, the dead body. im losing my mind a little bit