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mozart and melons
MY SHOW MY SHOW MY SHOW. Actually, aside from my sheer unhappy panic at the first episode, I have been loving this season of White Collar a whole lot.
I deeply, deeply appreciate that we have a Mozzie episode, because I was starting to feel so uncomfortable about everything that Moz does. I still don't much like the Nazi plunder thing, but I appreciate that it's textually addressed that all the art is from a Russian museum -- I guess if they find buyers the whole thing isn't as hideously skeezy as it could be? Eh. I love that Moz wanted at least some of the money to help his old orphanage (and how much did I love kid!Mozzie? A WHOLE LOT) and it's great that he really does understand how hard it is for Neal to even consider leaving. I mean, I really do think that Neal is capable of keeping this life, of channeling his need for the rush of a con into FBI-condoned avenues, and of being happy, but of course Mozzie doesn't think like this. For Moz everything is transient, and you can never really trust the Feds, and -- what Neal wants is actually a less viable option in Mozzie-world than One Last Big Score is. I am glad I get that now! I can breathe around Moz again.
I am also fascinated by how Neal seems able to breathe again, now that he knows Peter has the sub manifest and he can't go forward with selling the art. He knows exactly where Peter has him and therefore he's safe! Not that I don't expect Neal to start pushing, and trying to figure out what might be safe to sell, but oh my god I feel so happy and fuzzy about it. #reasons I actually watch White Collar
Also, speaking of reasons I actually watch White Collar -- okay, first of all we have Peter and Neal in suits, and El taking their prom picture. I can't even. (I deeply appreciate that, while El is not usually given a whole lot of screen time, all of her time is delightfully used. Also, my god, she was arrested for streaking in college. Elizabeth, be my girlfriend.) Also, they're still doing their Butch & Sundance thing, which El seems to be in on. BRB DRAWING SPARKLY HEARTS AROUND EVERYONE.
And then. And then there's my favorite part of the episode -- seriously, I went back twice to rewatch it and clutch my face some more -- when Peter "fires" Neal. I am a huge sucker for fake fights in which the participants channel genuine emotions or frustrations at each other. I just -- hold on. Here. I am going to watch it yet again and transcribe it for you because it is just. that. great.
PETER. You were trouble ever since you came to work for me! With your ... glossy smile ... and those annoying little hats!
NEAL. You loved my hats!
PETER. The hell I did! You're insubordinate, you never do what I tell you to do, and every time I turn my back you're off doing who knows what with God knows who!
NEAL. You know -- you ungrateful bastard. I have had your back since day one and anytime anything goes wrong I'm the first person you blame --
PETER. Because you're a con! It's who you are! And it's all you'll ever be! You're fired! Get out of my sight!
NEAL. With pleasure!
PETER. Good.
NEAL. And the next time your hot wife gets lonely -- tell her to call me.
I just. I CAN'T. I love that just from this you can tell that Peter is scared for Neal, of the stupid things he might get into and of how maybe there really isn't anything Peter can do about it; that Neal wants desperately to please Peter and hates that he's never quite good enough; and that, oh my god, something about El. I'm not sure what the normal, casual show-viewer reading of that last bit would be -- in a normal narrative El is off-limits as a romantic interest for Neal and that parting shot is just a generic below-the-belt last comment? But I live in a universe where the only way this show makes sense is if Neal, Peter, and El had a Relationship Conversation, and Peter put on the brakes for a whole lot of good reasons, and this season is entirely, entirely about how Neal, having mostly healed from Kate, is having a hell of a time even beginning to heal from Peter because they have to work together every day.
And I love that show a whole, whole lot.
I deeply, deeply appreciate that we have a Mozzie episode, because I was starting to feel so uncomfortable about everything that Moz does. I still don't much like the Nazi plunder thing, but I appreciate that it's textually addressed that all the art is from a Russian museum -- I guess if they find buyers the whole thing isn't as hideously skeezy as it could be? Eh. I love that Moz wanted at least some of the money to help his old orphanage (and how much did I love kid!Mozzie? A WHOLE LOT) and it's great that he really does understand how hard it is for Neal to even consider leaving. I mean, I really do think that Neal is capable of keeping this life, of channeling his need for the rush of a con into FBI-condoned avenues, and of being happy, but of course Mozzie doesn't think like this. For Moz everything is transient, and you can never really trust the Feds, and -- what Neal wants is actually a less viable option in Mozzie-world than One Last Big Score is. I am glad I get that now! I can breathe around Moz again.
I am also fascinated by how Neal seems able to breathe again, now that he knows Peter has the sub manifest and he can't go forward with selling the art. He knows exactly where Peter has him and therefore he's safe! Not that I don't expect Neal to start pushing, and trying to figure out what might be safe to sell, but oh my god I feel so happy and fuzzy about it. #reasons I actually watch White Collar
Also, speaking of reasons I actually watch White Collar -- okay, first of all we have Peter and Neal in suits, and El taking their prom picture. I can't even. (I deeply appreciate that, while El is not usually given a whole lot of screen time, all of her time is delightfully used. Also, my god, she was arrested for streaking in college. Elizabeth, be my girlfriend.) Also, they're still doing their Butch & Sundance thing, which El seems to be in on. BRB DRAWING SPARKLY HEARTS AROUND EVERYONE.
And then. And then there's my favorite part of the episode -- seriously, I went back twice to rewatch it and clutch my face some more -- when Peter "fires" Neal. I am a huge sucker for fake fights in which the participants channel genuine emotions or frustrations at each other. I just -- hold on. Here. I am going to watch it yet again and transcribe it for you because it is just. that. great.
PETER. You were trouble ever since you came to work for me! With your ... glossy smile ... and those annoying little hats!
NEAL. You loved my hats!
PETER. The hell I did! You're insubordinate, you never do what I tell you to do, and every time I turn my back you're off doing who knows what with God knows who!
NEAL. You know -- you ungrateful bastard. I have had your back since day one and anytime anything goes wrong I'm the first person you blame --
PETER. Because you're a con! It's who you are! And it's all you'll ever be! You're fired! Get out of my sight!
NEAL. With pleasure!
PETER. Good.
NEAL. And the next time your hot wife gets lonely -- tell her to call me.
I just. I CAN'T. I love that just from this you can tell that Peter is scared for Neal, of the stupid things he might get into and of how maybe there really isn't anything Peter can do about it; that Neal wants desperately to please Peter and hates that he's never quite good enough; and that, oh my god, something about El. I'm not sure what the normal, casual show-viewer reading of that last bit would be -- in a normal narrative El is off-limits as a romantic interest for Neal and that parting shot is just a generic below-the-belt last comment? But I live in a universe where the only way this show makes sense is if Neal, Peter, and El had a Relationship Conversation, and Peter put on the brakes for a whole lot of good reasons, and this season is entirely, entirely about how Neal, having mostly healed from Kate, is having a hell of a time even beginning to heal from Peter because they have to work together every day.
And I love that show a whole, whole lot.