It is a weird thing, trust, a delicate feeling. Whether you give or receive, you have to handle it with care because it takes very little to damage it and only a little more to break it.
When that happens, when you stay there, knowing that something that could have been will never be, fragments strike you like the reflections of sun on the water caressed by wind.
It is such a precarious feeling and it is said to be easier to love than to trust and to have someones confidence is an honor more precious than being loved.
Raised with Wolves’ absolute protagonist is trust.
Trust that you would give but too much pain keeps you from daring.
Trust that your logic would never give but the heart has already granted, no matter what.
Trust that has always been there, you’ve just never thought to call into question and that, however, is likely to crumble apart, crumbling even you.
I don’t want to sound corny though, watching Mary Kills People one episode after another, I am invariably struck by how much and how well everything contributes to a riveting, engaging narrative.
Examples are in every scene, proving mastery and dedication of all the professionals who contribute to wrap such a beautiful product.
Grady waiting for Mary framed by water transparency or Ben talking on his cell with the picturesque lake on his back, are just two examples of the will to engage the viewer in sharing not only a tale but the emotional warmth of the scene.
You can breathe harmony and mutual understanding behind the narrative, even in conflicts.
The continuity of direction by Holly Dale, undoubtedly ensures consistency to the canvas, from background to single details. Characters, scenery, lines, lights and sounds, everything spreads real emotion, rough, conflicting and uncertain, just like those in real life.
The most intense tones are those generated by conflicts and hardest conflicts are those within each character.
Trusting another person means giving that person the power to break your heart and hoping they won’t.
This hope is so fragile in Des… He is determined to avoid Mary, to give her the chance to break his heart.
Fear of betrayal, by the only person who counts on him, is so big that he prefers to play himself in the role of the villain, compromising its principles and let it all go to hell, not to have to test his friend loyalty.
Ben, on the contrary, wants to conquer Mary’s trust, intimately gratified by her cry for help.
Deserving, perhaps, even more than conquering, aware that he had tried to betray her confidence before earning it.
Then he says what he shouldn’t say, does what he shouldn’t do, goes where he shouldn’t go, as he didn’t know whether it is strongest the desire that Mary trusts him, or the confirmation that he can trust her.
His feelings for Mary, the irrational instinct to protect her from her own vulnerabilities, are so strong and pressing that, for Mary, he is willing to go to the limit of what his ethics allows. Maybe he would be ready to cross some limit too because of Mary. After all, Ben is aware he has got her and understands her reasons. However, knowing what Mary is doing, he disapproves, though, as only one who loves can do, he is ready to accept it…Indeed, he has already done so, almost earlier than Nicole (Hats off to Charlotte Sullivan’s extraordinary skill, delivering a character so complete and complex, with just a few brushes as an expert painter).
Ben accepted Mary without wonder and shyness, he doesn’t let what Mary does to be a reason to hold back his desire to be there for her.
He doesn’t allow Mary to be defined by her mistakes…
Ben’s ability to see the good in Mary is amazing in spite of the truth of what she does, which is, for him, burning, crystal and inescapable.
Ben seems ready to do anything for Mary. He admits with candor to Frank at the district.
For some reason she chose him. Him, the son of a happy couple who share a serene retirement in Florida. He, who was brought up on good and right, cannot hold back.
He cannot remain emotionless to what he saw in Mary, when, alone and desperate, she came knocking on his door.
That evening, two solitary beings took refuge in one another.
He is so sure of the vulnerability he saw behind her strength. A strength that only fear and pain feed.
He is so sure as to follow his instinct leading him to her side. He moves us most with the sincerity and tenderness with which he proposes the trip to Florida with Mary or with looks and the sweetness he reserves for her,later, at every Nicole sympathetic allusion.
This is why the disappointment of then, it hurts so much ….
That’s why Ben does not have the clarity of mind nor the calm to understand that Mary is going to tell him exactly what he has just found out.
Mary’s “I want to be honest with you” has a tremendous, unappreciated value.
Mary confirms his instinct, Mary trusts him.
But in Ben’s ear, on the pontoon, there is only the cry of pain of his broken heart and Mary’s sincerity, the reciprocated trust, is lost in that echo of pain.
Ben was freaked out by Mary’s vulnerability and fell in love.
Jumping to conclusions during the phone call, believing everything he had imagined about her suddenly wrong, miserably shatters the confidence he felt, the trust he thought she deserved.
Even before being betrayed by Mary, Ben is betrayed by the collapse of his expectations. Doesn’t wait, doesn’t listen, he overreacts.
It’s too painful to think that Mary is not as fragile as she looked in his arms.
In front of her, he was incredibly himself.
Too much pain to think that she has not reciprocated.
It is not the thought of a Mary “worse” than he thought to crush Ben’s heart and logic,
it is the horror at the thought of exposing himself, to have been true in front of someone capable instead of pretending emotions, fragility and involvement.
Once undermined the trust in Mary’s emotional honesty, there is no room for his feelings.
Ben goes away, leaving Mary torn and lonely.
That’s how Mary has always seen herself. How she always felt.
The immensity of pain inside her to suggest that such an immense sorrow could not be shared, could not be understood and loneliness was the remedy to survive.
Keeping all this pain inside, though, because your sister does not deserve it, your husband would not understand (and that’s how he became an ex) and taking this almost clinical detachment from any emotional involvement, makes you tougher, preventing you from trust issues, pushing people away, even daughters.
The fear of allowing the ones she loves to come too close to her runs deep and corrodes her soul like a burning fire.
Mary can only rely on herself.
An indelible pain which will never die, as she says, has been caused by those who loved her most.
She is no longer used, not capable and too afraid to trust. She would not trust Ben and she is committed to strenuously keep him away since the beginning, at her wake up in the motel.
She slams in his face that he cannot be trusted because he is the one always working, the one pretending.
She shows coldness, distance. She knows how much any weakness could cost.
And trust would be for her an unforgivable weakness.
The temptation to break her haven of loneliness’ barriers is great, the price is likely to be very high.
Mary would like to give up, oh how she would.
Close her eyes, shoulders enclosed by his arms as when he taught her to aim, protected.
“To properly aim you have to control subconscious”, he said.
Surrounded by him, her inner demons silent at last, she felt herself, without fear and the shot was direct and precise.
I wonder what she thought.
Taking a deep breath, the warmth of Ben on arms and back, she must have thought how everything would have been easier, in that warmth, finally protected.
However Mary seems to resist there and later, during the walk.
Yet, Ben’s protective desire to crumble Mary’s solitude broke through, the sincerity of his feelings not unheard.
She needs just a little encouragement by Nicole as she had already settled inside her that Ben and what he means, is worth the risk.
Sadly just to hear his voice in delivering her real name, it’s enough to know her choice was late.
Nothing ever easy for Mary.
The resolution to confide, to share everything with Ben, not just the loneliness, is a difficult and important step, so bitterly reviled by the simple lack of timing.
Not enough strength to grab Ben, to stop him, yelling at him that what he found out was exactly what she went to tell him. That it’s what she meant her “to be honest”.
He should just listen to her.
She is so resigned to being disappointed by those who love her that she doesn’t even try, does not believe it.
It is easier to keep protecting herself, to see in Ben’s reaction a cold pro calculation rather than his disappointed irrational bitterness.
Easier to whisper to herself “I told you so,” and letting him leave, rather than risk of not being trusted once she explained.
Rejecting because of the dread of not being accepted.
Expectations play a role in the episode secondary to that played by the trust.
Ben and Mary, they wound each other because of the fear of being hurt, because of hesitation in believing, afraid that trusting each other will mean to concede too much into their vulnerability.
To protect themselves, expose both of them to a bigger pain.
To trust means exposure to risk of suffering, of course.
Those we love can hurt us more than anyone else, even not on purpose.
What Ben and Mary must both ask themselves, from the depth of their solitude, is whether the warmth of the presence of each other in the other’s life is worth the risk of getting burned.
Edited by Lisa
“There is beauty in the Inevitable”
It’s impressive that each episode of Mary Kills People takes the audience to a gradually deeper level of knowledge of the events and characters.
It is as if they had shown us a large canvas from the beginnning, already complete, which the evolution of the story makes us focus right down to details.
We could easily define this third episode as the best seen so far, except that, as said, it helps to create a bigger picture, every detail to enrich the overall vision so, at the end of the six, each one will be quite an important chapter of the wonderful story.
In “Wave the white flag” reactions to events are like layers of an onion on character’s skin, fallen away, one after the other, exposing all the emotions, the truth, the reasons which move each one of the protagonists in this choral tale.
Meeting Irene and Declan in the opening moment, Mary and Des are enchanted by peacefulness and love they perceive as an aura around the tight-knit couple. The shared happiness they exhibit in spite of everything has a special value for Mary who’s maybe feeling the vibes of an old nostalgia for never having experienced something even close to that emotion, softened by the knowledge, mixed with hope, that maybe sometimes, somewhere, it truly exists.
The overture sequence Lime and Coconut alone brings about praise and plaudits to the wonderful Holly Dale for the skill with which she introduces lights and contrast, peacefulness and chaos and anticipates much of the episode’s tone, ‘tuning’ viewers as to what is about to happen.
It is a narrative choice which is really very effective to put so much sunshine and serenity – the fantastic music score helps a lot – at the beginning of a story that is rather turbulent and confused as though the grey of the sky rocked by the wind before a storm.
The cinematography also admirably tells of this conflict, from the exuberance of Irene and Declan’s garden, to the coldness of the beach where Mary meets Ben for the first of three contacts, each one more illuminating than the others.
Characters are stretched like violin strings, moment by moment, raw nerves at every clash they share.
That instinctive awareness, misty but strong, in all that is happening today will complicate tomorrow life.
They each do their best to keep the helm and not get carried away by the storm, not always easy though.
Far from it.
It is not always even possible.
Des knows it when he sees the routine that has been scrupulously built and shared with Mary, creak under the weight of unexpected events and Mary’s dramatic reaction to them.
Bravo, from deep down, to Richard Short who introduces us, with unusual and uninhibited skill, a character multifaceted, true and credible both in sarcastic tones and in the dramatic moments, all intensely and brilliantly delivered.
Frank knows it as much as he knows Ben and is able to read his soul sooner than the colleague reads his own feelings. His affection is so sincere that he has not the courage to intervene, but you could lose yourself in the depth and intensity of Lyriq Bent’s eyes when, at the hospital, he puts in his stare all the sincere concern, without judgments or convictions, for what Ben is living.
Jess knows it. Jess who does not see any hope for her heartfelt need of certainties.
The people she loves seem so ready to hurt her. She sees the storm everywhere around her, not only in the sky.
Even Grady knows, the merciless Grady, frenzied and moody figure created by the talented genius of Greg Bryk. Things could get messy from time to time and his coldness and maniacal ability to control each factor may not be enough.
Mary knows of course. Oh yes, she knows …
She has already lost more than a protective layer, maybe she never had so many, feels the storm coming more intensely because she lives the storm inside, holding it within, even before impacting events that trigger it.
Mary is storm.
Ben is the one who notices it.
Ben who fits into the story so deviously, a liar and who reveals a conflicting personality at the very least so fascinating, a moral so pure as to make him tenderly vulnerable.
Ben reads Mary.
He reads the hidden implications in the innermost defenses and he is bewitched.
He knows so little that he should not get her so well, he could not.
But Mary has exposed herself to him. She was softly herself when she saw only a chance encounter, a sudden contact, intense, though not dangerous.
In his fake, dingy apartment, Ben was someone to tell everything to without fear, knowing that he would not have time or no other to witnesses her narration.
The storm that Mary hurls at Ben is truly and deeply destabilizing. Whatever happens, it changes you forever.
Ben makes no effort to do his job honestly. He is honest.
He is investigating Mary, does not tell fibs to himself nor justify himself to her.
He is consistent in his soul even as he is overwhelmed by the swirl of emotions that Mary arouses. No armor but certainly reminds us of a knight of yesteryear, always ready to do his duty and to protect Mary without thinking for a moment.
Although Mary is the one who errs.
Even those who make mistakes deserve protection.
Even those who are fragile make mistakes and Ben saw the fragility of Mary. He perceived, felt, touched every moment Mary was close to him.
The fragility and the conflict.
The fragility of Mary, Ben cannot resist.
The most beautiful scene of the episode, the narrative moment that changes the whole story is definitely in the hospital when Ben, anything but lost, has no hesitation in grasping the arm of Mary and writes his number to be called for anything. For anything at all. The sight of Mary shocked, yet another perception of her fragility, gives him the strength to take a step that is kind of an irrevocable choice.
Moved, touched, bewitched by this messy creature who he didn’t ask to meet but has, Ben feels he wants to be there for her.
He decided to do so.
To reach Mary, later, at the motel is only a consequence of the steps taken in that corridor.
He does not respond with words but by kissing her when she asked why he had reached her.
With tenderness and intensity of what seems like the first kiss, which they missed in the heat of their first encounter, he tells her he is there because he cares about her, because the attraction has quickly given way to something more engaging, more intimate, deeper.
The conflict that Ben will have to live, for those steps in the hospital corridor and the sweet hugging at the motel, does not currently have any importance.
What matters right now, is that the raw, fragile Mary feels lonely.
He wants her to know she is not alone.
Maybe Mary fell asleep in Ben’s arms after making love. Maybe she’d have dreamed of a lush garden and the color of the flowers, the warmth of the sun on the skin and the happiness in the heart …
Edited by Lisa
Years pass. Feeling stay.
Happy Birthday Jay Ryan
For each of us the exact moment, we fell in love with Beauty and the Beast differs, we each have our own moment.
For me, it was the first scene on fire escape at the end of episode 103;
The “Ouch”, a few words about wanting to be Batman, and that was when my journey with Beauty and the Beast began.
What is certain is that when Catherine, in response to the love practically confessed by Vincent in the artist studio in ep 106, admits the importance that he has in her life, the fandom was already conquered.
As a relative unknown face on US TV, Jay Ryan…
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Time to know something more about Lyriq Bent, starring Frank, Joel’s best friend, in Mary Kills People
After graduating college with high honors, Lyriq Bent originally began his career as a Computer Graphic Technician. Bent’s plans, however, were short-lived as he decided to take up acting on a dare. Since then, his career has gained considerable momentum with numerous film and television appearances already under his belt. Bent’s eclectic mix of roles and rising popularity has earned kudos in both his native Canada and the U.S.
In addition to landing a co-starring role on Lifetime’s drama series “Angela’s Eyes” from the producers of Crash, Bent guest starred on the CBS series “CSI: Miami” opposite David Caruso, the UPN series “Kevin Hill” opposite Taye Diggs and USA Network’s “Kojak” opposite Ving Rhames. Additionally, the versatile actor has had recurring roles on the CBS/Zoetrope series “Platinum”, the ESPN/Disney series “Playmakers” and the hit E1/ABC series “Rookie Blue”. Bent also appeared in Robert Townsend’s multi-award winning television movie “10,000 Black Men Named George” and the CBC mini-series “Guns”, winner of five Geminis, alongside Elisha Cuthbert and Colm Feore.
Bent’s success in film has also been burgeoning. His film credits include starring opposite Mark Wahlberg and Andrè 3000 in the John Singleton film “Four Brothers” and “Take the Lead” with Antonio Banderas and Alfre Woodard. Bent also co-starred in the smash horror films “Saw II” and “Saw III” and as the lead character in “Saw IV”, which opened at #1 in the box office, grossing over $100 million worldwide. He has also appeared in “Mother’s Day” with Rebecca De Mornay, Shawn Ashmore and Jaime King, “Honey” alongside Jessica Alba, “Crime Spree” with Gerard Depardieu and “A Day Late and a Dollar Short” based on the New York Times Bestseller by Terry McMillan, starring Whoopi Goldberg, Ving Rhames and Mekhi Phifer. Furthermore, Bent starred in director Michael Mabbott’s critically acclaimed debut feature film, “The Life and Hard Times of Guy Terrifico,” which premiered at the 2005 Toronto International Film Festival, winning the award for Best First Canadian Feature Film.
Bent co-starred in “Home Again”, the Official Selection of the 2012 Toronto International Film Festival and winner of the festival choice award by the British Academy of Film and Television Art’s Festival.
Most recently, Bent completed filming the BET/CBC mini-series “Book of Negroes” based on Lawrence Hill’s best-selling novel, opposite Louis Gosset Jr., Cuba Gooding Jr., and Aunjanue Ellis. The project from Conquering Pictures, Out of Africa Entertainment and Entertainment One Television will air on BET Networks in the U.S. and CBC in Canada.
If anyone thinking of Kristin Kreuk thought to beautiful and talented actress, not would exactly focus Kristin.
Because she would’ve settled for being just that, it is certainly, but an uncommon sensitivity and intelligence, very oriented to what is right, for what it’s worth, enabled her to enrich and embellish her figure, bringing those approaching her biography to range from cultural promotion, to volunteer, to support initiatives ethically valuable and innovative, to the spending of her name for highly deserving causes.
So simply retracing just her last months, while on one hand cuddled her fans pouring her undeniable, extraordinary talent in her Catherine Chandler in Beauty and the Beast, on the other strove on more than one front to give a different meaning to her days, to link her name to something more concrete of television fame, indeed using the fame to give a different resonance to projects of merit in terms of ethical and social.
In Toronto we viewed wow the crowd with her “Love Letters” theatrical intiative linked to Daily Bread Food Bank, founded by her great emotional involvement in the events of war, pain and separation, experienced up close in her travels abroad, particularly in Syria.
She has sacrificed more than a weekend of rest during the filming of her series, to be part of the initiatives organized by “I Am That Girl” in New York and elsewhere.
It was already late autumn, when, just finished filming the fourth season of Beauty and the Beast, flew to Vancouver to be part of the extraordinary initiative Sleep Out, at the base of the fundraiser organized by Covenant House, lending to spend a night outdoors to sensitize public opinion towards the collection in favor of the homeless.
And no one will ever forget the passion and transportation provided to the defense and promotion of the wonderful “Intolerable” by Kamal Al Solaylee,at the latest edition of Canada Reads.
Which is a charity initiative, or a cultural battle, or simply it is raising public awareness with regard to a delicate issue, Kristin kreuk must feel to share this intimately in her own to sponsor it.
You can read it in her eyes, in her words, in the passion with which she gives to the initiatives that brides.
No wonder her television and movie characters prove beloved, and almost worshiped by her fans. In each of these characters is in fact found the same enthusiasm, the same passion, the same determination that Kristin puts in her everyday life, life she can’t really live in a trivial way.
100 of these birthdays then our extraordinary Beauty…