It's been a while since anyone has done an analysis so I thought I would do one.
The following is an unorthodox interpretation of Thanatophobia--take it for what's it worth. This interpretation has nothing to do with two political states separated by an impenetrable wall; rather it has to do with a women's biological clock. Here is a summary:
1. Aeon Flux is seminal fluid that the male passes on to the female. The lift she uses to enter her automobile is the male's sex organ.
2. Building 7981 is the female's uterus. The white spiders she shoots are the sperms. One doesn't explode and thus causes pregancy.
3. Sybil is the female egg. She miscarriages when she tries to "escape Bregna". As a result, she later tries artificial insemination which is represented by the mechanical spinal implant.
4. Onan is a venereal disease which the female passes onto the male (Danger Boy didn't wear a condom). It is also the cause of her miscarriage.
5. Aeon's desire to stop Sybil from crossing is the result of her jealousy towards the artificial inseminations, which is why she tries to get rid of the spinal implants.
6. The moving steel wall is the female's menstrual cycle, accompanied by PMS mood swings.
7. The "C" in C Section is, well...you figure it out.
The weakness of the above interpretation is the grizzly scene where Sybil gets amputated. It's not clear to me what's happening, but I do recognize it as a key scene. This cannot be an abortion (or anything similar to this) since this would be inconsistent with the artifical insemination interpretation. It might be another miscarriage, but then why is it so different from the first? Any ideas?
― Ray Lee, Thursday, 30 March 2006 01:27 (nineteen years ago)
I like Ray's take on it, though I can affirm it is more an expression of his own creative faculties than of the authors' intentions.
And I guess Sam is referring to this:
AEON FLUX FAQ/EPISODE GUIDE
#3: THANATOPHOBIA
Unless otherwise marked, questions and unpreceded
responses by Logan Andrus (RXRB58C@prodigy.com).
Unless otherwise marked, responses preceded by ">" by
Steve Rach Mirarchi (rach@earthlink.net).
1) Did you notice the laundry hanging outside the buildings?
>It's one of the few things that remains constant in this show,
>pointing to the inevitability of routine, of things that must
>be done.
>It's also indicative of--if not symbolic of--a certain class
>of people: lower class, to be exact.
I didn't consider the "routine" idea but was thinking more along
the lines of illustrating that we are dealing with lower class
people. The phrase "airing out dirty laundry" came to mind as
well when I saw it.
2) The scene starts with an image of 3 kids two of whom are
throwing punches at each other and laughing while the third a boy
sits on the side clapping and laughing along and his last two
claps are accentuated by a flash of light and a loud boom.
comment.
>The sounds of the punches synchronize perfectly with the boy's
>clapping. It's impossible to tell, then, whether the boys are
>hitting each other or not. Even if they are, they're having
>fun--for now.
The clapping masks the impact of the punches and make everything
seem innocent much like Sybil's love for Onan masks his actual
intentions making them seem innocent and non self-centered as
well.
2a) Comment on Aeon's car.
>In contrast to the other cars on the road, Aeon's appears even
>more insect-like and dark. Even among Monikkens she stands out.
>For that reason, I don't think this episode is simply a huge
>metaphor for Trevor vs. Aeon, Breens vs. Monikkens: Trevor
>is not the typical Breen (kids in question above, "good old
>boys" in question below); Aeon is not the typical Monikken.
While I would agree that Aeon and Trevor are by no means typical
citizens of there respective nations I think that Aeon and Trevor
are almost like cultural myths to their societies like a
Gilgamesh or Jesus who both embodied not only the ideal member of
their community but also embodied the community as whole. So
naturally Aeon and Trevor would not be a typical Breen or Monican
they are the perfect Breen or Monican.
3) The bombing of the 7981 building is next notice how 7981 is
displayed quite a few times to make sure we remember it. Comment
on the bombing itself as well as Aeon's danger boy song.
Here it is for those who wanted it.
Are you ready for the action now danger boy?
Ready if I'm ready for you danger boy?
Ready if I want it now danger boy?
How dare you dare you danger boy?
I dare you dare you danger boy.
>Who is Aeon addressing? Trevor? It's hard to tell. At the least,
>her chant shows her defiance against the Breen State. She's
>daring *anyone* to respond to her, to make her bombing
>legitimate, a real concern. Trevor won't do this, as we'll see,
>and this means "danger" that's he bringing upon his State by
>allowing the bombings to continue. Note that when things start
>blowing up, a burnt medical part is zoomed in on. At this point
>in the story, the technology is being destroyed. Yet this
>situation reverses by the end, in which the technology is fresh
>and new, and the people are being dismembered. Ironic for
>medical parts, no?
As discussed towards the end this is a very circular episode.
Here we see the victims becoming the killers.
4) The scene with Trevor and the Breen administrator is very
interesting. The Breen administrator tells Trevor that the men at
the club have noticed his game is flagging and he begins the
conversation with rambling on about how "boarder containment" is
a joke. comment.
>This reminded me of how a "good old boys" club will make snide
>and critical comments about the leader in power. Notice how
>Trevor focuses on the "power of ideas", NOT action. This
>characterization follows very consistently throughout the
>series: Trevor is not a doer; he's a thinker. He leaves the
>dirty work to others (like the medical devices).
Perhaps Trevor is a thinker but to say he is not a doer is
misleading. I think better stated we could say that Trevor works
more on the theoretical level than on a practical level which
would explain his surprise when things don't go the way he
expects such as when Sybil asks for Monincan citizenship.
5) Comment on the following dialog:
Onan "Every time you turn around he's started some new kind of
project but he is just another Breen"
Sybil "Yes, Trevor Goodchild. they are all just a bunch a power
junkies toying with our lives"
Onan "In Monikan there are no rules. That's why Goodchild hates
them. No head of state to negotiate with."
Sybil "so D-section is our best bet"
Onan "Sybil we've been through this. You hesate, if you hesate
you've failed already. I hate that.
Sybil "You'd send your kid in there if you wanted to get rid of
him"
Onan "Or you lover, if you wanted to get rid of her."
Sybil "What! I'm gonna make it Onan. I'll show you how weak I am"
>Anarchy vs...? Both the Breen and Monikken State are described
>as being in states of anarchy, yet the decentralized position is
>preferred. I don't think this dialogue is hiding much: it's to
>the point. Onan wants a stronger, more confident woman, and
>Sybil accuses him of being capricious.
To me this dialog is not a stated fact but just conjecture. I
thing we have established that Onan and Sybil are lower class
Breens so they can't have any real comprehension of the "power
junkies" they don't know how things really work and Onan has a
misconception of Monican as a state with "no rules" practically
Monican could not stand against the highly organized and mobile
Breen state. Obviously Monican isn't as stiff as Bregna but we
can't assume it citizens live in a utopian anarchist state that
magically stands up against the stifling oppression of the Breen
state. This seems to be another giant misconception about the
series along with this Aeon takes no sides stuff. I compare when
Aeon says "I take no sides" to the statement "There is no
absolute truth" both statements say that you can't make a
specific claim by doing exactly what they saying you can't do
which is making a specific claim.
6) Both Onan and Sybil see the unused bomb fall out of Aeon's bag
as they stare out the window and Onan keeps staring at Aeon after
Sybil walks off. comment.
>They don't know it's an unused bomb yet. But we do know what it
>is, and the dramatic irony tells us that WE know Aeon is
>dangerous but that Onan does not; he doesn't know what he's in
>for. Onan keeps staring, incorrectly identifying Monikka with
>Aeon--seeing her as the emblem of freedom, of sexiness, of what
>Sybil cannot offer him. But he will be wrong.
This scene is important because it shows that Onan sees only what
he wants to he sees, Aeon, who as above stated, represents his
misconceptions of Monican society. But what does Sybil see? she
sees the bomb not so much Aeon. I can justify this because she
doesn't look as long but still is able to remember the bomb.
7) Are the stockings hanging it the window important?
>Very. They keep appearing throughout the episode as symbols of
>Sybil's romantic dedication to Onan. She says to Onan, "Remember
>when you got me these?", trying to spark some romance in him.
>But his heart's in Monikka, and he doesn't even hear her.
8) Why is Trevor able to get the info on Sybil so quickly? In
other words was he watching her before or is his system just that
good?
>There are cameras everywhere. I don't see any evidence for a
>predisposed interest in Sybil, until it becomes obvious that
>she's going to go for it, at which point Trevor focuses on her.
I don't think Trevor really does has a prior interest in Sybil
but what is it that really sparks his interest and later cause
him to take care of Sybil after the run? Two words. Aeon Flux
9) Did you notice that Trevor appears blue but everyone else in
the room appears normal?
>He's VERY close to his monitor, which is blue. The haze from the
>screen reflects on him. This is symbolic of his voyeurism,
>actually, setting him apart from the others who just watch the
>screens not so intently.
The others are indifrently watching one is even eating they are
just observing what they are watching but Trevor is up close and
personal so close he looks blue just like the screen he is
watching in this way he draws himself into the scene although he
is in the background he is definitely there with her.
10) Comment on the boarder run. especially the fact that Sybil
goes first. Did Onan need for her to go first for him to make it?
Did you notice the very slick animation as the "camera" pans
around quickly to show Sybil through the opening in the boarder
wall?
>Onan seems to sail right over her at a time when the guns aren't
>firing. These are the SAME GUNS as in "A Last Time for
>Everything" in which Aeon and Scafandra NEED each other--one
>person to distract and the other to run. Based on that evidence,
>it seems pretty clear that Onan used her, as he doesn't love her
>anymore anyway.
Onan wasn't just leaving Bregna he was leaving everything he
didn't try and take anything with him across the boarder and
planned to leave everything behind including his heaviest baggage
of all, Sybil.
> 11) Is it important that Aeon is in the background during all
of this?
>Of course. It's her presence that catches Trevor's eye and riles
>him even more.
true but even more important is that Trevor is lurking in the
background as well. Both Aeon and Trevor pick up the two who made
the boarder run. Just as Trevor picks up Sybil and takes control
of her post boarder run life Aeon picks up Onan and takes care of
hie post boarder run life or PBRL for short.
12) Why does Trevor take hands on this one rather than just
putting her in general?
>No doubt because Aeon is also "hands-on", as he's seen her in
>the background. Note that Trevor's seeing Aeon and his decision
>in the matter are very close to each other--one as a consequence
>of the other.
Exactly, just like vultures circling over the lost man in the
desert Aeon and Trevor both swoop down on their respective preys.
Their motivation is not clear at this point but it seems Trevor's
action is to get Aeon while Aeon motivations seems to be more
pure. But is Aeon motivation pure yes she want to help out Sybil
but at what cost she uses Onan as a pawn in her idea of what
Sybil's recovery. Onan doesn't matter to her. Who cares if his
life ambition is to just make it to Monika? Who cares if he
doesn't want Sybil back? Aeon has decided that she knows what's
best for Sybil no matter what. In this way she a lot like Trevor
exploiting others to her own end.
13) Comment on the rose in the glass of water sitting on the
ledge of Sybil's hospital room.
>Perhaps symbolic of Sybil's feelings for the now-gone Onan (if
>he wasn't "gone" already, at least in spirit).
>On the other hand, it could be pastiche: taking an over-used
>object and making light of it.
14) Comment on the following dialog:
Doctor "About the damage Sybil. You don't have enough to cover
it all of course. You'll have to work it off. As well as
your repair bill"
Sybil "Repair.?"
Doctor " You have a gap. A credibility gap. Your citizenship is
in question. But you've been conscripticed anyway."
Sybil "Where"
Doctor "7981 Building the medical parts facility"
Sybil "The one that always being bombed?"
>The "gap" is at first a joke--pretty funny actually.
>Here's interesting evidence for the Breen political structure:
>conscription. Bregna is more government-controlled than Onan
>and Sybil think. The doubleness of repair--both physical and
>reputational--is necessary to chart through the episode. Does
>she ever repair herself fully in either aspect? Dependency is a
>key issue in this episode, and for now it appears that Sybil
>will be forever dependent on someone who can provide the plugs
>for her, which according to the dialogue, are expensive.
O.K. dependency is a key issue and I'm going to run with it for a
moment. Just to clarify now Sybil is completely dependant on the
Breen government. (let me go off on a slight tangent don't worry
I'll tie it together) before the boarder run Sybil seemed to have
no job (backed by the fact that she has no problem with working
at the 7981 building [doesn't conflict with another job]) so you
have to think the Breen society is a huge welfare state almost
communist since with no obvious means of support Sybil and Onan
were able to support themselves fairly well. So if she doesn't
have any real way to meet her own basic needs food, clothing,
shelter etc. but now she also relies on the government for her
very life since she probably almost died in the boarder run as
well as depending on Trevor to have sexual pleasure.
15) Sybil sees the news and puts it together that Aeon is the
7981 bomber. comment.
>First, note that the guy on the TV is the same guy from earlier
>that talked to Trevor. Obviously someone "up high." A nice
>expansion on the Media issues that were started in episode 1.
>Now that Sybil recognizes the bomb, and puts 2 and 2 together,
>we realize she isn't a fantasizing romantic--or is she?
>Instead of steering Onan away from Aeon, she points him in
>her direction, having every naive faith possible.
15a) Aeon disapproves of Sybil's condition with a very
audible "EEEEEWWWWWW!!!" as she watches her replace her
gap. Significant?
>This is the beginning of Aeon's realizing what Sybil is
>about--a woman with big hopes but not enough drive or talent
>to get there.
I don't think so obviously Aeon doesn't think Sybil is a loser
because the only way she would help her was through sympathy. I
argue that Aeon knows in some round about way that Sybil will
eventually triumph perhaps she won't win outright and live in
peace in monica but she will break her metaphoric shackles and
free herself her soul if you will.
16) Did you notice the children running and laughing as Sybil
walks home from work?
>They're still happy. Everything is still okay in the world,
>relatively speaking.
>This also means that the lower class neighborhood is nearby,
>right around the corner from the 7981.
Good point because you know the boys have to live around Sybil if
she has now run into them twice so this directly links Sybil to
living in the lower class. There unbridled happiness and ignorant
bliss, if you will, is contrasted against Sybil depression. Let
me explain the children are wild and free and pure and aren't
weighed down by the "truth", so to speak, that Sybil knows.
17) Sybil see a hole in the wall and spies Onan, dressed all in
black, she calls to him and he comes over to the hole in the wall
takes out her spine thing and puts in a new one after Onan
encourages her to make it across the boarder. comment.
>Notice that this hole is drawn identically to the hole in the
>huge "7" as Sybil leaves the facility. With the proliferation
>of the 7981 at the beginning, it's hard to miss it now,
>especially when the 7 is blown with the hole. But the important
>point: the holes are the same. My conclusion: Aeon blew the hole
>in that wall to see what would develop, to stay on top of
>things.
Stretching a bit aren't we?
>The fluid-filled vertebrae replacement (what I refer to as
>a "plug") is only a one-use implement,
>a device one could and most likely should become addicted to.
>This particular scene ends with a broken one, leading us to
>believe that things aren't going to end happily, that this
>device is far from a life-saver.
>The literal bending over backwards Sybil does for Onan shows
>just how far her naivete extends. Either that or her wishful
>thinking.
Sybil is still blinded by her love for Onan and this scene
illustrates it she is willing to waste one of her "plugs" just to
kiss him. This contrasted by Onan surprise I think the only
reason he tells her to try again is so that she will fail
completely and die he left everything in Bregna and Sybil is the
only remnant of his past left. In his mind he needs to completely
purge himself of everything Breen including his lover. So in
order for his transition to a Monican Sybil must die.
18) Comment on when Onan tells Aeon that not only that Sybil
can't make it across the boarder but also that she has failed not
only herself but him to. Also comment on when Onan says "Perhaps
I am drawn to weak woman because I have no concept of weakness or
like qualities."
>Again Onan is wrong: Aeon is far from a weak woman, and he is a
>weak man, as we are about to find out (and should be evident
>from the way he used Sybil).
This scene smacks the viewer in the face and screams out "ONAN IS
AN ASS" Now we have no doubt that everything Onan has ever done
is self serving and everything he thinks or says is an outright
lie or a means of boosting his own ego. Thus his statements at
the beginning of the episode about Monican don't hold as much
water as we at first believed.
18a) Onan tries on Monikken clothes, but Aeon has to "adjust"
them, eventually telling him to "Forget it!" Comment.
>This scene is crucial to understanding Onan's character. What he
>thought of Monikka is wrong; he doesn't fit in; when Aeon shows
>him what it's really about, he can't handle the pressure/pain.
>Onan doesn't belong in Monikka, and Aeon realizes this--and
>even moreso when Onan flees her sexual advances later.
Exactly he's way to Breen all his misconceptions and wrong ideas
are coming back to haunt him. His paradise is nothing more than
just another place his dream of the utopian Monican society is
being crushed by harsh reality. Perhaps this is an illustration
of just how different Breen and Monican societies are both have
huge misconceptions of the other but they are still worlds apart.
19) Why does Trevor come to call on Sybil?
>Trevor needs someone to try out the new border patrol devices,
>so he begins the process by coming on to her and giving her
>stimulation that no other person could, which is very
>suspicious.
>We'll find out that he's violating her.
I don't think he needs someone to test out the boarder episode
because he was against them and their to much like what the
adminstator from the beginning of the episode wanted to be a
Goodchild implementation. Trevor is powerful but not that
powerful this episode is the only one I can think of were you
actually see Trevor power in somewhat of a check. The
administrator bullies him into putting up the new boarder
defenses that will ultimately take Sybil's legs. And when he
talks of the 7981 building we see that he is unable to shut down
production because of "circumstances" which implies his power is
once again in check.
Allright on to the question Trevor comes over to assert his
dominance over Sybil. he does this through their sexual encounter
after he does this he has changed the way Sybil can enjoy sex.
Now she must turn to him for pleasure because he now directly
controls her ability to enjoy sex.
20) Comment on Trevor and Sybil's sexual encounter as well as the
fact that Aeon is watching. Also what about the fact that Trevor
can't remember Sybil's name.
>One has to wonder what he's doing in there. After all, it is her
>spinal cord he's messing with. Turns out he's making her more
>dependent on him (see later questions).
>Aeon now realizes she has a much bigger stake in the whole
>thing.
>Is Trevor pretending when he supposedly cannot remember her
>name?
>Or is his task--getting her in his power--so paramount that he
>forgets a trivial detail? Either way, it makes the affair very
>much that: an impersonal probing.
see 19
21) Comment on the following dialog
Trevor "Tell me your heart's desire. One wish and it's yours.
Just no heads on plates. I'm gonna get a drink would you
like one?"
Sybil "No"
Trevor "Right" "That
would have been it you know"
>Notice the stockings swaying in the background throughout this
>whole exchange, symbolic of Sybil's dedication to Onan.
>The "heads on plates" reference is, of course, to the Hebrew
>Bible story in which John the Baptist's head on a plate is asked
>for when any one wish is asked of the King's wife. Now, the
>very interesting thing this means is that Judaism exists in
>this world. Either that or the expression has somehow survived.
>That puts Aeon's world in the not-too-distant future. This
>little
>gem of a phrase says a lot about Trevor and the series as a
>whole.
>Note also that *bread and wine* are served, incredibly symbolic
>and distorted as it's not Trevor but Sybil who sacrifices her
>body and blood.
>Trevor's joke shows how conniving he is, very ready to promise
>one thing then take it away with a technicality.
Classic Goodchild, in a way it shows his contempt and his
feelings of superiority towards the Breens. He offers her
anything in his power and tries an almost childish trick to take
it away. Obviously this shows that Trevor in no way thinks of
Sybil as an equal. I guess this could be taken as more evidence
of Sybil and Onan lower standing in Breen society.
22) Sybil sees Onan at Aeon place how does this effect her?
>She's shocked, of course, but not quite as much as she should
>be. She hopes for the best, thinking Onan's doing it for her.
It's almost sad she still is holding on to the belief that Onan
wants her she can't see the writing on the wall. She is way way
down into self denial. But on the other hand maybe there is
nothing to make a big deal of and she realizes it. Breen/Monican
sexual relations are obviously more relaxed than ours so maybe
Aeon and Onan little encounter isn't that significant besides she
has no problem with getting it on with Trevor.
23) Comment on Sybil's request for Monican citizenship and
Trevor's reaction to her request as well as the "get out" joke.
>The idea I'm getting here is that there is NO Monikken
>government, that all the Monikkens are simply former Breens who
>have broken off. Of course he can't give her "citizenship", for
>such a thing does not exist.
>The "get out" joke comes about as the typical ending of a speech
>Trevor might make. His position of power is rehearsed, and once
>he gets into it, it comes to its logical end, thus he assumes
>he's in his office. He doesn't think; he just makes speeches and
>sees what happens.
Let's leave aside the question of weather or not their is a
Monican government for a minute. Trevor reaction is caused by a
couple of things. 1. He can't imagine someone seeing Monica as
the better choice because he is the desighner of Breen society
and sees it as perfect not only is it the best choice its the
only choice that is logical. And 2 this is one of the few things
outside of his realm of power. It pisses him off not only because
of the irrationality of the request but because with all his
power this is something he can't do (he couldn't bring himself to
do it and couldn't do it if he wanted to). It almost like Sybil
is pouring salt into the wound because to him its like asking
someone in a wheel chair to go for a walk. She has made him
painfully aware of his limitations and Trevor Goodchild is not a
man of limitations.
24) Once again comment on the following dialog:
Sybil "We Breens are spoiled rotten aren't we just take me out to
the street and shoot me."
Trevor "The system is a defensive measure. What do you think it's
the way I'd prefer matters?"
Sybil "Look at me. I am what you've done to yourself. You
monster, you've heard it all before but you never
listen. WE'RE DYING"
Trevor "STOP! ENOUGH!"
>Trevor's lying again: of course he'd prefer the defensive system
>a certain way, which is why he's changing it. Sybil has a point:
>Trevor has a gap, too, and a credibility gap according to the
>official that visits him earlier. They're not so different.
Once again (see 23) Trevor faced with his limitations and reacts
almost violently. The "I am what you've done what to yourself" is
the most interesting because it strikes a cord. Trevor must also
lean heavily on artificial means to stay upright (e.g. the
cameras, the Breen army [which is shown arresting people several
times], Clavius, the custodians etc.) and how long can he stay
up like this will he falter? Is he dying? Is Sybil right? The
answer is No. The reason he and Sybil are alike but wear they
differ is in the fact that Trevor is strong enough to carry it
off were Sybil carries too much baggage, namely Onan, to carry it
off.
25) Compare Aeon and Onan reactions to the above dialog.
>Aeon gains a bit of respect for Sybil, but Onan, pulling his
>usual arrogance, feigns banality. Aeon picks up another clue
>to Onan's weakness here.
We also see the un-monicanness of Onan again as Aeon is obviously
not impressed with his sexual performance.
26) What is Aeon motivation in wanting to take Onan away from
Sybil?
>She never really wants to; she just wants to show Onan what it's
>like to be a Monikken while at the same time showing Sybil she's
>making a mistake by trusting Trevor.
Maybe, but perhaps she is just jealous and is using Onan as a
kind of "O, yeah well take this" But I doubt it I think she is
trying to actually help Sybil out by performing the ultimate act
of tough love by taking her unresponsive lover from her. She
doesn't really consider how large Sybil's devotion toward Onan
really is.
27) Does Sybil still love Onan?
>She certainly wants to prove something to him, and the fact that
>she lets him penetrate her through a hole in the wall implies
>some kind of love, even if it's no longer romantic love.
>Notice Onan's not wearing black anymore, though he'll switch
>back to it later.
27a) Comment on the "new" medical devices.
>They now have a serpent's face in the middle of them, a typical
>image of death, but also, again, an image of the Fall from
>the Hebrew Bible.
Perhaps this isn't as important as you think because the modern
medical symbol is that of a snake rapped around a cross. It could
just be a direct correlation of the dechristianzation of society.
The medical profession will always more directly deal with death
than just about any other so its natural to have that symbol it
could just be an update of our current symbol or a foreshadowing
device of Sybil's own death.
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28) Why does Aeon try to warn Sybil and is it significant that it
is Trevor there and not Sybil.
>Aeon realizes Sybil just doesn't have what it takes. But more
>importantly, Aeon's been back to the 7981, no doubt, and knows
>what's going on with the new system.
>Trevor's being there, and Aeon's surprise at it, shows that
>Trevor is capable of things not even Aeon can anticipate.
I think its kind of a symbol of Aeon misdirected help she trying
to warn Sybil but instead plays into Trevor's hands. Now Trevor
knows he has the upper hand. It's also kind of strange that a lot
of this episode is spent trying to tell Sybil that she doesn't
have what it takes. It is kind of like an anti-underdog type
episode rather than the battered underdog rising to the top we
see the underdog do just what is expected but not expected.
29) Aeon says "It's fine to play with my feelings but now your
involving innocent people." Trevor says she is jealous. Is she?
>What does Aeon have to be jealous of? She knows Trevor is using
>her just the same way Onan did but in an admittedly much more
>transgressive way. The way it's said, Aeon comes off as sounding
>that Trevor's doing it just to get at her, but that's not the
>case, so perhaps Trevor has a point. But it seems more likely
>that Aeon means that Trevor is now abusing his power by
>experimenting with Breens (wouldn't be the first time, and it
>won't be the last).
Maybe she is. She jealous because Trevor has found a new
plaything.
30) Why does Trevor play with Sybil. Why does she intrigue him?
And why does Aeon get involved?
>Trevor claims she has the "proper specs", which could mean that
>she's perfect to test the new defense system, or it could be
>a sexist remark. It doesn't matter: she makes the perfect
>subject for him to manipulate.
She intrigues him because he can't see why she is so devoted
unrealisticly to Onan as well as to her idea of making it to
Monica.
>Aeon gets involved, as usual, to preserve neutrality. Nothing
>can be lost nor gained, and she makes sure that happens.
Aeon gets involved and by that very statement destroyers
neutrality. I don't really see how you can say she is preserving
neutrality she is getting involved to further her own means or
more accurately she is getting involved to make the situation
come out to suit her own ends.
31) Why does Sybil refuse Aeon help? (Sybil "There's a hook in
that bait and here you still want me to swallow it.")
>The scene slows and distorts on Sybil's ear as Aeon says "before
>you know what happened." This is exactly what Sybil doesn't
>want: someone to do the job for her, to do the work. Sybil wants
>the sense of confidence and accomplishment, as when she
>slams down the coffee cup.
Perhaps. But i think she realizes she being manipulated by Trevor
and perhaps even Onan and she sees that Aeon is no different.
Aeon is just another person who want to mettle in her life and
all she needs is another person doing that.
31a) In the keyhole view, Aeon's breasts are foregrounded quite
largely. Is this symbolic, or just over-the-top drawing?
>It's symbolic of two things:
>1) Aeon's strength in comparison to Sybil's weakness
>2) Aeon's feminity which is very intact compared to Sybil's
>which will be violated
Maybe but I think you missed the boat there. This episode is
about perceptions or more specifically Sybil miss-perceptions of
Moncia, Onan etc. and this is another bad perception she does see
Aeon strength and feminity but that all she doesn't get the
whole picture only a warped perception of her through a barrier
which happens to be the door in this case but in other cases in
the episode its perhaps her ignorance of how things really are.
32) What is the hook in Aeon bait?
>The hook is what I've just described: Aeon, in offering to do
>it, makes the situation basically the same as Bregna in that
>no choice exists. Sybil will feel indebted to Aeon, and she
>certainly doesn't want that.
I don't thin Sybil even knows what the hook in Aeon's bait is but
she knows you can't get something for nothing and perhaps the
thing Aeon would take from Sybil is the sense of actually
accomplishing her freedom from both Onan and Bregna by herself.
33) Comment on Sybil and Onan sexual encounter through the
boarder wall. Why is it good for Onan and not Sybil. Why is it
"not the same anymore."
>Sybil says this with remarkable presence of voice, almost
>scientifically, and certainly not disappointedly. This points to
>the strong possibility that Trevor has "rigged" Sybil's nerves
>such that she can feel pleasure only when Trevor stimulates
>her. Now she's dependent on him for the plugs AND for sexual
>satisfaction.
Yes, yes. Trevor now controls the way Sybil can derive sexual
pleasure she has been changed and through this change has become
even more dependant. The irony lies in the fact that in her
attempt to break away from dependance in her boarder run (which
she may have only done because on her dependance on Onan's love)
she has become more dependant that ever.
34) Why does Sybil call Trevor to come over?
>Most likely to test out her theory that something's different.
>She comes on very strong in the following scenes, out of
>character almost. She's seeing how vulnerable she is to
>Trevor, how much power he has over her. Is he really any
>different from Onan? is what she's asking.
She needs him plain and simple. I think she calls him over to see
if she can live with herself the way she has become. She wants to
see if she be able to go on. Later will see she can't and this
encounter starts her down the road to her second boarder run.
35) Why must Trevor as Sybil says, "use her"? Must he?
>Semantics, I'd say--more wordplay by Trevor.
>Notice she's wearing VERY similar stockings in the hopes of
>recapturing romance. But the originals still hang in the
>window, still telling us of her devotion to Onan.
The originals must stay in the window never to be worn again she
can't really wear them again their almost like a sign of her
virginity an innocence she once has but never will be able to
gain back.
36) Why does this latest meeting of Trevor and Sybil provoke Aeon
into to jump into the midst of things?
>Trevor has violated Sybil's ability to *feel*, and Aeon won't
>stand for this trespass.
Trevor has finally pushed Aeon to far and she is forced to spring
into action just what Trevor wants he spent all this time
provoking Aeon and his efforts have finally payed off.
37) Why does Aeon through Sybil box of spine things through the
window?
>Without them, Sybil can no longer depend on Trevor, and it puts
>Trevor in the position of having to explain to Sybil that
>millions of these things exist, which means that Trevor is not
>so special after all. A way of evening things out.
No. Aeon decides for Sybil that she doesn't need Trevor help but
Sybil does in fact need Trevor help and Aeon blinded by her own
feelings and beliefs pushes her way into the midst of fray kind
of saying big sister Aeon knows what best even though Sybil has
directly refused Aeon help and conversely almost embraced the
help Trevor has given her.
38) Why is Sybil crying and saying "I hate it. I hate it"?
>It is at this point that she realizes she's again dependent on
>a man. Her experiment has proved right: Trevor is no different.
>But who does she blame for this? We'll see that she blames Aeon,
>which means she hasn't learned much.
see 34
She sees she can't live like this she is just to dependant on
Trevor she knows that she can't go on like this. I think at this
point you begin to realize that perhaps death will offer Sybil's
only way out.
39) When Trevor and Aeon meet face to face in Sybil's place we
get a scene much like the first and second season no dialog is
spoken but they quite obviously communicate to each other.
comment.
>Yes, I agree! What's communicated is not so important to put
>into words; it's that we get a confrontation that
>results in no gain for either that's important.
It is their only physical confrontations and it kind of symbolic
that their is no tangible loss or gain by this confrontation
everything stays the same as it was.
40) We reach the climax of the episode when Sybil tells Trevor
that Aeon is a Monican terrorist and wants him to do something
about it. Why does she tell him? Why does she want him to do
something about it?
>Sybil keeps trying to find someone to blame. Now she tries to
>clear her credibility gap, and it turns out it doesn't matter
>to Trevor. She could be jealous at Onan, but more likely she's
>out to prove something, to mend her gaps.
Aeon is forcing Sybil to deal with things she doesn't want to
namely her dependency and more directly Onan. She wants Trevor to
make it go away. She doesn't want to deal with all of these
things and she tell Trevor so he can make it all go away.
41) Trevor makes a very interesting statement he says "I let Aeon
do her bombing." Some have take this to mean Aeon works for
Trevor in this respect and that would fall nicely into the Aeon
takes absolutely no sides view many have of her but this
statement doesn't make that clear is it a far reach to assume
this? and does this statement imply another possibility?
>Aeon does NOT work for Trevor. That possibility is a SEVERE
>misreading of ANY episode and cannot be supported with any
>force. If Aeon takes no side, which is almost always true,
>then she cannot, by definition, work for Trevor. If she
>does ever take a side, it's her own side, and even that
>comes back to haunt her in "Chronophasia."
>No, Trevor's statement is a political one. This episode is,
>on one level, all about boundaries, political barriers, and
>politics in general. Trevor's verb "let" is really saying
>"I can't do anything about it", just as the UK and Eire can't
>do anything about the IRA's activities even though they
>know who's doing it.
>As mentioned earlier, for Trevor to do something about Aeon's
>bombings would be to legitimate her as a bomber and as a
>threat--just what Trevor doesn't want to do. It would also
>expose the new defense system plans.
Certainly Trevor can do something about the bombing it would be a
simple matter to have Aeon killed but lets explore why he doesn't
just take care of her. He doesn't want what is going on in the
7981 building to be going on but he is being bullied into it by
political means. So when Aeon bombs the plant it plays right into
Trevor plan and whatever reason Aeon was bombing the plant for
becomes immaterial because she is doing exactly what Trevor
wants.
42) Why does Aeon bring Onan back? by this i mean what are her
motivations and what are the repercussions of this act?
>As we've seen by now, Onan doesn't belong there; he's not one
>of them; he doesn't have what it takes either. Perhaps Aeon is
>hoping that Onan's return will convince Sybil to stay put, but
>she might underestimate just how crazy Sybil's gotten.
He's not a Monican and frankly he really damn annoying so Aeon
brings him back in hopes that Sybil devotion to him will save her
from foolishly trying to make another boarder run but not only is
Aeon wrong but the act of bringing Onan back makes Sybil realize
that there is nothing left between them and pushes her to make
her second boarder run.
43) Why does Onan say "Its not worth it [to try and make another
boarder run]"? And why does Sybil refuse his plea for another
chance?
>Onan's seen the other side, and he too finally realizes things
>are very different over there--and maybe not for him. As for
>Sybil, see the next response.
He was wrong about monica and he knows Sybil won't make it and
doesn't want her to throw her life a way on the misconceptions he
fed her about Monica.
44) Everyone (Aeon, Onan and Trevor to some extent) seems to know
Sybil won't make it across the boarder. why? or do they even now
this? Does Sybil expect to make it?
>It's no longer a question of loyalty for Sybil; she resolved
>that when she told Trevor about Aeon. Now the jump (or
>acrobatics) is more symbolic than anything else, to assure
>herself of who she is, how she can survive on her own and has
>fixed her gaps. We of course know better, and so does everyone
>else.
I don't think Sybil knows for certain if she will make but she
knows that in order to truly free herself she must make this run
she must do the impossible she has to break away from all of this
control by doing the one thing that everyone controlling her is
telling her not to do. Weather or not she makes it is unimportant
the important fact is that she does it.
45) Comment on the last scene of Trevor with the truck load of
spine things and his statement "That which does not kill us makes
us stranger."
>The famous Neitzschian phrase suffers yet another of Trevor's
>wordplays. This final betrayal--Trevor could have told her about
>the system, but doesn't, so as to test it--is worsened by all
>the plugs. There are tons of them; Sybil had no need to depend
>on Trevor.
>The grand irony is that the "medical" devices were made by Sybil
>herself: she participates in her own mutilation from beginning
>to end, at every stage.
46) Comment on the very last scene of the boys fighting out of
anger and the boy with no arms and the boom right as the episode
ends.
>There's no more clapping to be made. Without the playful sounds,
>violence takes over. Did the boy try to cross? Why would he?
>He's depicted as happy in the beginning. More likely he was put
>to a dare or was playing in the wrong area, but he's just as
>affected as the rest of the population. This is a slam on
>political measures having a devastating effect on the lower and
>middle classes.
Andrew Nickel: [anickel@mail.win.org]
"The child first seen claping is shown later flicking a bottlecap into the
border, and taking delight in seeing the 'defensive measures' shot it
apart. This is our first glimpse of the turrets in this episode. I think
it can be assumed that once the guns were deactivated, the child's
curiosity got the better of him when he found his objects not getting
shot. I wholeheartedly agree however on the idea that the violence
replaced the clapping noises, yet another example of Breen 'safety
measures' harvesting disaster."
47) Did you notice he episode starts off with a scene with the
boys, then goes to scene with Trevor, then to a scene with Sybil
and Onan and to a scene with Aeon. It ends with Aeon bringing
back Onan a then Sybil and Onan when Sybil makes the boarder run
then goes to a scene of Trevor then back to the boys. In short
form boys-Trevor-Sybil/Onan-Aeon then at the end Aeon-Sybil/Onan-
Trevor-boys. This may be reaching.
>I don't think it's reaching at all. The story is circular, like
>many Aeon episodes. We get to chart the changes in the imagery
>to see the effects of each group on each other, and that change
>is very clear here: agency is debilitating.
― Peter Chung, Thursday, 30 March 2006 07:44 (nineteen years ago)
three weeks pass...
O.K. dependency is a key issue and I'm going to run with it for a ?moment. Just to clarify now Sybil is completely dependant on the ?Breen government. (let me go off on a slight tangent don't worry ?I'll tie it together) before the boarder run Sybil seemed to have ?no job (backed by the fact that she has no problem with working ?at the 7981 building [doesn't conflict with another job])
YEAH, BUT SYBIL (AND ONAN) COULD HAVE HAD SOME SORT OF JOBS UP TO THE POINT OF THEIR BORDER JUMP - WHICH COULD HAVE JUST BEEN BAILED ON BY ONE OR BOTH OF THEM WHEN THEY MADE FOR THEIR ESCAPE. AS A RESULT OF HER OWN UNFORTUNATE FAILURE TO TRAVERSE THE GRID, SYBIL WOULD AS A RESULT HAVE TO FACE A SUBSEQUENT READJUSTMENT IN TERMS OF HER LIFE IN BREGNA EVERY BIT AS DRASTIC AND UNCERTAIN AS SHE EVER COULD HAVE EXPECTED TO LOOK FORWARD TO AS A BREEN DESERTER/MONICAN, IF NOT MORE SO. CONSCRIPTION INTO SERVICE TO THE STATE (AS BUT ONE GIVEN ASPECT OF HER OVERALL REHAB SENTENCE AS A WHOLE) WOULD PRECLUDE WHATEVER BUSINESS SHE WOULD HAVE HAD GOING FOR HER PRIOR TO HER GETTING BUSTED NO MATTER WHAT - EVEN IF HER NEWLY-INCURRED CONDITION OF DISABILITY WOULDN'T BY ITSELF AMOUNT TO A DRAMATIC DECLINE OF WHATEVER HER FORMER VALUE TO ANY FORMER POSITION SHE MIGHT HAVE HAD (OR TO THE BREEN WORK FORCE AT-LARGE OR IN GENERAL). LET ALONE HER NEW STATUS AS AN ATTEMPTED DESERTER WHICH WOULD HAVE AT THE VERY LEAST GOTTEN HER FIRED FROM ANYTHING SHE'D BEEN DOING IN ANY SORT OF MANAGERIAL CAPACITY AT ALL, WE SHOULD BE REASONABLY SURE. SHE;S LIKE A FRANCIS GARY POWERS OR SOMETHING AT THIS POINT IF SHE'S LUCKY, IF YOU THINK ABOUT IT.
so you ?have to think the Breen society is a huge welfare state almost ?communist since with no obvious means of support Sybil and Onan ?were able to support themselves fairly well. So if she doesn't ?have any real way to meet her own basic needs food, clothing, ?shelter etc. but now she also relies on the government for her ?very life since she probably almost died in the boarder run as ?well as depending on Trevor to have sexual pleasure. ?
ABSOLUTELY. IN FACT IT ALWAYS SEEMED TO ME THAT - IF CONTRARY TO ALL OTHER INDICATIONS OTHERWISE WHETHER GIVEN OR MERELY APPARENT - BREGNA WOULD BE THE FORMER SOVIET UNION AND MONICA THE NATO RATHER THAN THE OTHER WAY AROUND (WERE THAT COMPARISON EVER TO BE SUGGESTED - WHICH IS NOT TO SUGGEST THAT IT OUGHT TO BE).
15) Sybil sees the news and puts it together that Aeon is the 7981 bomber. comment. ?
WELL, FROM SYBIL'S OWN POINT OF VIEW - WHICH IS NARROWING DRAMATICALLY IN ALL SORTS OF WAYS AS WE GO ON, TURN BY TURN BY TURN - HERS IS A SORT OF TOUR DE FORCE IN AN ACCELERATING RAILROADING OF HER COURSE TOWARD AN APPROACHING INELUCTABLE CLIMAX OF UTTER PERSONAL AND CIRCUMSTANTIAL DESOLATION AND IGNOMINIOUS RUIN. HERE'S SOMEBODY WHO DIDN'T START OUT WITH A WHOLE LOT WHO COMES LITTLE BY LITTLE TO BE REDUCED TO LESS AND LESS AGAIN, THAN A WHOLE PERSON AS SUCH. WHATEVER FORMS OF DESPERATION OR COMPROMISE HER BEHAVIOR MIGHT COME TO TAKE IN THE COURSE OF MATTERS AS THEY CONTINUE TO DEVELOP FOR HER, YOU CAN'T HELP, I THINK, BUT TO RECOGNIZE A CERTAIN STUMBLING ACQUIESCENCE TO ALL OF THE COMPOUNDING, IMPENDING ABSURDITY FOR HER. IT'S ALL SO MONSTROUS AND UNFAIR AND IMPOSSIBLE. BUT IT'S HAPPENING JUST LIKE THIS, NO MATTER WHAT AND IT'S AS IF NO ONE CAN DO ANYTHING TO ALTER THE NET RESULT OF TRAGEDY NO MATTER HOW DELIBERATE OR DRASTIC THE GIVEN EFFORT.
Allright on to the question Trevor comes over to assert his ?dominance over Sybil. he does this through their sexual encounter ?after he does this he has changed the way Sybil can enjoy sex. ?Now she must turn to him for pleasure because he now directly ?controls her ability to enjoy sex. ?
YES BUT IT WAS STRICTLY A MATTER OF ACCIDENT THAT SYBIL SHOULD HAVE MANAGED TO SUSTAIN EXACTLY THE MANNER OF SPINAL INJURY TO HAVE HER WIND UP A CANDIDATE FOR THE ONLY KIND OF REPAIR WE CAN HOPE TO HAVE AVAILABLE TO IMPLEMENT TO EFFECT AN APPROXIMATE SURGICAL CORRECTION. STRANGER THINGS HAVE HAPPENED, TRUE - THOUGH NOT VERY MANY OF THEM AND NOT ANY THAT YOU'D HAZARD WERE TOO MUCH STRANGER. BUT, WHAT ARE YOU GOING TO DO? I MEAN, WHAT! YA KNOW?
― Mark Mars, Tuesday, 25 April 2006 18:46 (nineteen years ago)