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The Expanse 2x09 Full Length Reaction (Patreon)

Published:
2025-02-04 18:00:06
Imported:
2026-06
Tags:

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*Tacking on to my discussion at the end, because I didn't think about this until after the fact, and didn't want to re-export/re-upload the whole video (I'll record an insert for the YouTube cut). -- Seahorses (specifically their tails) are literal spirals, and are also considered symbols of good luck. And considering the comments made earlier in the episode about Earthers not appreciating the ocean, could be a subtle way of showing Chrisjen's love and respect for the ocean. In Greek mythology, seahorses were said to be sacred to Poseidon. -- Griffins are symbols of power, courage, strength, wisdom, guardianship, the duality of good and evil, and divine power. That seems a fitting symbol to have in Avasarala's office if I've ever heard one.

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The Expanse 2x09 Full Length Reaction

Comments

Demibyte

I never took note of those half circles before but now that you point them out it strikes me that they are also probably meant to resemble the silhouettes of the moon + earth under partial shadow. Loving these reactions and seeing new details in this show.

Anthony Dakhin

The Expanse does, indeed, have a thing for this kind of subtle symbolism, embedded through visuals that might seem coincidental at first. There are at least a couple of things like this in season 3 I can remember from the top of my head, I wonder if you'll catch it. Female characters in this show are brilliantly written, and both Frankie Adams and Shohreh Aghdashloo are amazing in this episode. It's another thing I adore about this show - it gives every character, now matter how small, a moment in the spotlight, and thanks to awesome writing and casting none of those moments are spoiled.

NovoKiwi

I love Shoreh Aghdashloo's Avasarala. She once liked a tweet of mine and I carried that glow with me for a week! In the books, her dress and jewellry are described as her armour - in contrast to the Marine armour, but in the political world, just as protective and deadly. I love seeing different interpretations of the symbolism used in The Expanse, it is so richly delivered that there's so much to see!

Michael Cyr

I agree with Demibyte, definitely seeing new aspects of the show with your commentary from when I initially watched it (which was long enough ago that I actually don't remember much about what happens in it, so it's nice to rewatch it). This is why I'm a member here (combined with the fact that I like most of the shows/movies you watch). Interesting that you recognized James Holdens' voice; I recognized Amos'. Also, I don't know if you're doing something different now, but I was able to watch this in the Patreon window without it opening a new tab to YouTube.

martensJD

Jacqui: "Nothing makes one angrier than being told to calm down." Me, thinking "or maybe seeing your spouse killed."

martensJD

Of all the characters they could have named Martens, it had to be this guy.

Wild_Lee_Coyote

Thanks for making me watch the Expanse again on my new OLED tv. It looks amazing. But also pay attention in the upcoming episodes and you can catch a little glimpse of Amos’ few soft spots.

Ivo Costa

Blue lighting is battle mode lighting.

neil katz

More Expanse pluuuuuuuuease

jason sexton

Very, very late to the conversation, but about the sculptures in Avasarala (Bubbles)'s office. I'm fairly certain they are meant to represent silhouettes of Earth(the big one), and Luna(the one on her desk). I like the other theory as well, but I'm fairly certain that's what they represent :).

Erik Bjelke

"Somnia" = sleep; "ambul" = movement (as in ambulance, ambulatory, amble). "Somnabulism" is the technical term for sleepwalking, being ambulatory while in a state of somnia. Other than being a really fun name for a spaceship, it rather adequately describes Prax's state as he searches for Mai: sleepwalking through his life, mourning the probably loss of his daughter. He is a weeping somnabulist. Mars gets 43% less sunlight than Earth, and Mars has no magnetosphere, so the domes most Martians live under would block most of the incoming electromagnetic radiation or, to paraphrase Mark Watney, they'd have so much cancer they're cancer would have cancer. (There's actually a funny bit from Miller's perspective in the first book where, as tensions are escalating, some OPA take over a long-range telescope and point it at Mars, getting high-res images "right down to the topless sunbathers under the Martian domes." Given the above, sunbathing of any kind would be utterly pointless on Mars, yet apparently that doesn't stop the naturists of the Red Planet.) So the sunglasses are a smart move. Bobbie leaving them behind, I think, is partly wanting to prove she's tough enough she doesn't need them, partly wanting to see Earth with her own eyes, unfiltered and unedited. 45:40: In the Star Wars new EU novel "Thrawn" by Timothy Zhan, chronicling how the alien Thrawn managed to rise to the height of Grand Admiral in the xenophobic Empire, there's a bit where Thrawn needs to get in somewhere to look at something, but the stormtroopers guarding it have orders from higher up not to let anyone in. After a few attempts to convince them, Thrawn straight-up yells at them, in a very out-of-character moment, and the stormtroopers let him pass. Thrawn's human friend, Eli, mentions that he'd NEVER seen Thrawn angry before. Thrawn replies that he wasn't angry, just that some people won't respond to reason, others are so stuck in their own patterns of behavior that they refuse to consider alternatives. "In such a case, a breaking of one's own patterns can be useful tool." Thrawn understood and invoked, in cold-blooded and calculating fashion, the trope "OOC Is Serious Business," when a character does something we know isn't in their normal pattern of behavior, so we know the situation has pushed them outside their normal operating limits. Your analysis of Avasarala here brings that to mind, that she'd be the kind of person to carefully and deliberately act out of character in a highly specific situation for a highly specific end.