October 10th, 2011

Snarky Candiru2

"Maybe you should try listening to yourself": Mike's effect on Liz....

As we've seen, Mike's inability to relate to his fellow human beings on a human level is very damaging to those around him. First off, a busy designer on the upswing of earnest endeavor had to spend years rebuilding her reputation because some idiot whose job it was to garnish a press release with trivia vomited forth a vicious hatchet job because she treated him like the formality he was; secondly, two people tired of dealing with white trash were the targets of a similar ad hominem attack owing to their objecting to the improvident and self-serving behavior of callow children who live a life of pretending to rebel against the parents they depend on to keep from starving to death in a gutter. Since they can escape Mike with no real cost, they're living productive lives marred only by the memory of being sullied by having to coexist with an infantile sociopath.

That puts them way ahead of Liz; no matter where she does, the malicious and self-absorbed son that Elly and John worship for his knavery will always shine in her eyes and always be a looming menace that she cannot flee and her parents will not protect her from. Every time she has tried to assert herself and end Mike's reign of wanton malice and crying that he's the victim of her tyranny, Elly and John shrug, tell her "boys will be boys" and that real little girls don't make waves. Since she lives in the vain hope that one day, she can somehow gain the attention, affection and respect that's been denied her owing to her parents' need to cosset a smug arsebucket who should by rights be locked in a dungeon for the rest of his worthless life so that he might not damage society with his pernicious presence and since's somewhat timid and slow on the uptake in the first place, she thus tends to hide from herself her feelings and to not acknowledge herself as an actor in this life; what she does instead is act as if she's a helpless victim who has no one to guide her destiny and spend a great deal of time looking for ankles to cling to so as to keep the looming shadow of self-satisfied idiot malice that destroys everything she tried to build up at bay for a second longer.

This, of course, not only opens her up to exploitation by the Eric Chamberlains of the world, it also leaves her terrified by the very real emotions of Warren Blackwoods and Paul Wrights; when she says that she made them up, what she really means is that she feels unsafe and exposed when faced with the horrifying danger of genuine emotions and, worse still, giving up her chance to have Mommy and Daddy love her and pay attention to her. Better to be right and safe and marry someone bland and boring for security's sake.

Simply put, Liz's reaction to Mike's horror at having to share anything, his belief that giving up a little bit of attention means that he'll never get any again, that he'll be disposed of and laughed at for wanting love, his lunatic fears of a little girl whose only crime was threatening to make a dumb bastard who's too stupid and cruel to know how the world works compete for the worthless, unattainable prize that is the love of an unloving mother is partially to blame for the Settlepocalypse. The rest of it is the insane need her stalker husband has to make of a collection of sordid white trash a pantheon.