- Hey, it's Rowan. and this day's video,
we are gonna be talking about all things queer in
"The Haunting of Bly Manor". Now, this is one of my videos. So we are definitely going
to be doing a deep dive or we gonna be living
no gay stone unturned within the show so there
will be a tonne of spoilers. Now if you're watching this video, I imagine that you've come
after watching the show, that you've already seen it in which case, hello, welcome, question,
did you cry as much as I did? Maybe you're someone who
doesn't mind being spoiled before you watch stuff. You know, I don't judge, in which case all you really need to know in
order to understand what I'm about to talk about is there
is this girl called Dani. She is an opaque who travels
from America to the UK to look after these two kids. The reason why she's moved
that is because she came out to her fiance and then he immediately died by getting hit by a car. Girl has some trauma. So she's looking after these kids in this big old English house. And what do you know? It's probably haunted. So many ghost, much things going weird, everyone is freaking out. She ends up having a little
crushy crush on the gardner who was a very attractive Northern lady. At the end of the story, the au pair sacrificed herself
in order to save the children and pretty much everyone
else who living in the house including the dead people,
but there's a period of 13 years between when she
decides to sacrifice herself and when she finally dies
and within those 13 years, she lives a very gay
life with the gardner. You got it? Good. Let's get into the deep dive. "Bly Manor" is a success, it's the immensely popular haunting of "The Haunting of
Hill House" on Netflix. Let's say success over rather than sequel as the two series aren't connected by any character or setting,
but by the creative team and the decision to
modernise and adapt a classic work of horror. First series being an adaptation of "The Haunting of Hill house" and the second, "The Turn of the Screw". Whereas James' original was
set in the Victorian era "Bly Manor" mainly set in the 1980s as a story being recounted
by a guest at a wedding. And it's not until the
very end of the series that we realise that the guest is in fact, the gardener Jamie, that
we've been following throughout the series. No, I love TV shows and
movies and pretty much every genre of horror. I like teen sashes or dark comedies or psychological thrillers but it's the mix of the supernatural and psychological, which I
think " Bly Manor" falls into, which is my absolute favourite. It doesn't hurt that this
series is extremely gay. Queerness and "Bly Manor" is woven into the characters narrative in three broad strands. So in the video today, I'm
going to do a little deep dive into them, chat a bit of horror history, and also just allow myself to process all of my emotions about
the finale, "The Ghost". The very first hint we get in the show of anything supernatural
is this mysterious figure with glowing eyes that
haunt our protagonist Dani, and already, this is unusual
because she expects him. We've seen her carefully
placing sheets over the mirrors in a hostel room and not
looking in reflective surfaces. Typically in stories when
we first meet a protagonist, they are in their normal everyday world. There's a tonne of ways of explaining this in different narrative theories but probably the most well-known is that of Joseph Campbell's monomyth. The idea is basically that we
need to see the protagonist in their normal everyday life, before the inciting
incident that knocks them into the narrative itself. So for example, in "Lord of the Rings" we have Frodo, we have to see
him in the shier with his kind of loving, but Camacho in
the uncle and getting excited about Gandalf being here. We need to see the world
of the Shire in Hobbiton in order to appreciate
the change that he goes through with the inciting
incident of Gandalf asking him to bring the
ring to the prancing pony. We need to see Frodo in the Shire to one, understand what he is risking
and what he's fighting for. And two, to understand how different he is and how much has been
changed by the journey that he goes on. The Frodo of the Shire is
not the Frodo at the end of the trilogy. We also traditionally see
this a lot in the prevalence of superhero origin movies, where the inciting incident is often them getting their powers for the first time. Now in horror, we typically see people before the horror starts
to happen to them. You know, if it's a movie
about some teenagers going to a cabin in the
middle of the words, we typically won't start
with them at the cabin, but on the road trip on the way there. Well, we see, you know, the
family moving into the new house before the haunting begins. So this idea that Dani is
already haunted unsettles us as an audience, even
subconsciously because either it is a break from what we know
should happen in a story, or this horror is her
normal everyday life. And in that case, what
the hell else is coming. So after I'd watched " Bly Manor", I went on to Twitter and I saw this tweet from the user ellieesaurus, "
"Bly Manor" is physical proof that you don't need to
have homophobia prevalent in queer stories, regardless
of the time it's set in. "Bly Manor" was mostly set in the '80s and there wasn't a sniff
of homophobia in the story. So please writer can
we keep that shit out?" And I do get what they're
trying to say here but here's the thing, that absolutely is
homophobia in "Bly Manor". It is at the very core of Dani's story. It's the horror of the
pervasive background homophobia and heteronormativity that
made it so Dani was nearly willing to live a half life with a man she didn't really love rather
than admit that she was gay. Going along with this
kind of heteronormativity because you think it's what you should do, or to please other people
is unfortunately nothing new especially when you feel
like it will be easier, not just for you, but also
the people around you, whether family, friends,
or significant others. And so we can see for Dani as
well as people in real life, the looming spectre of
internalised homophobia is her normal everyday life. Like on the surface, this is a really silly thing to point out, but like the metaphor is so
obviously there that Donny quite literally gets locked in a
closet during the first episode. I mean, the trauma of
internalised homophobia is quite literally haunting
her taking the shape of her late fiance. The guilt she has around coming out and breaking up with him
being so tight, it's death means that the two can't
be separated in her mind. On the surface, you could argue
that the haunting or boast or hallucination that she
experiences is entirely about her guilt for feeling
responsible for his death. After all, if she hadn't
confessed this big secret to him, then he wouldn't have
gotten out of the car. And maybe if a secret
that she had confessed hadn't been so devastating, he would have been paying attention when he'd opened the door,
but it's more than that. That event gave physical
shape to her in a turmoil, the men that she would physically see it, but the turmoil would have
still been there internally, Dani is gay. She's gay when she's thinking about it and she's gay when she's not. So he can appear to her at any point, but especially at times when
she's alone with her thoughts, like when she's locked in the closet and she sees him in mirrors because that internalised
homophobia, is a part of her. A mirror is meant to
literally reflect who you are, in the real world unless
you're looking into some kind of fun house mirror, they pretty much reflect
what we physically are, what we actually look like. We obviously can't use
them to see what kind of person we are or what we're thinking, but the world of Gothic horror loves to make the psychological and metaphorical take physical form. When Dani looks in a mirror, she's seeing who she
believes herself to be and what she thinks she
deserves even as it torches her to think it. We can see that she's grieving her fiance, but she's also in this process
that the love of queer people go through in real life of grieving a life that she kind of assumed
that she would have where she would marry
the childhood sweetheart and have children of her own, rather than looking after other people's. It's a life that she thought she could force herself to want. And so she's mourning
the loss of that life as well as her failure to fit into it. And the idea that not fitting
into it fundamentally makes her a failure too. So all this is like
literally haunting her. There is something that she
sees a ghost of her dead fiance when she looks in the mirrors,
but there is also a sense of a kind of metaphorical haunting that I think a lot of queer people in real life also go through. It's that idea that at any moment someone might be watching you, waiting to condemn or
judge you for queer actions or even queer thoughts whether
that be God or family members or strangers on the street, even. In recent years there's
been numerous studies around the world, looking at
the experiences of queer people and how comfortable or
safe they feel being queer and public. So holding hands, for
example, with your partner there are so many queer people
who feel unsafe doing it or don't do it at all. Even in countries like the
UK with its legal equalities, that mean on the surface should be safe. It's no coincidence that Dani
sees him over and over again in the beginning of her
relationship with a gardner because that is when she
feels the most queer. The external damning of society, as well as this internal
turmoil in her own mind work in tandem to tormentor. There is this kind of
precious, tentative hope in this journey to accept
herself that might get rid of the ghost forever, which
brings us on to part two, the gardner, Oh Lord, the God the gardner, let's just talk about
her forever, shall we? That seems like a good plan. So I messaged my brother while I was watching the
show right at the beginning of the very first scene that they interact and joking and was like, Oh, I'm really excited
for these girlfriends but I genuinely didn't think
it would actually happen. I'm so used as most of us
are to be in queer baited or with fake outs or being
told I'm reading too much into something. So I can understand how I thought it would be a really interesting dynamic but I didn't think they would go there. Oh boy, could I have been more wrong? The queer love story at
the heart of blow manner between Jamie and Dani is so
beautifully brought to me. There's such tension between the two as they get closer, yes but also so much tenderness and support. I think in terms of portrayals
of queer women on screen especially like
non-contemporary portrayals, there's a lot of like
intense looking at each other and like longing with not in
my opinion, necessarily a lot of narrative to back it up
or like building attraction or like reason for the
characters to be together. I just find it quite tedious
and boring, to be honest. I know Carol, I know I'm sorry,
but it meant that for me, this was like a breath of fresh air. I mean, Dani's relationship,
wasn't this kind of idealised, bubblegum,
perfection, they had problems but those problems were external. Or you actually often see this kind of criticism of especially like TV writers or writers of long series that once they get characters together, they have very difficult
time like coming up with interesting storylines
that allow those characters to still be a couple like
often times the drama will have to revolve
around them, breaking up, getting back together,
cheating on each other, being bad for each other. And I think that that's
not at all exclusive to queer relationships. And often when you have characters you stay a couple all
the way through a show. It will be like a thing
that people comment on. So Wash and Zoe from
"Firefly" for example, just weakness talked
extensively about the idea of like how deliberate it
was to have that couple be established at the beginning and to not have any kind
of wavering between them the entire way through the show. You can still have them go through journeys separately and together, but there's something
I think quite unusual about having their problems be external and not kind of focusing on kind of petty relationship issues or trying to generate drama
between two characters just because you can. What's interesting to me,
especially is that Hill house kind of focused on familial relationships. And I think "Bly Manor"
overwhelmingly focuses on romantic ones, but
romantic ones that end badly which aren't good for each other. Like look at miss Jessalyn Peter, he is just like manipulative
kind of aggressive controlling figure in her life. And then like literally kills her. The children's parents in
this crumbling marriage. The mother was having an affair
with her husband's brother before they then died the all
consuming jealousy of Viola, as well as her sister's
murderous intentions like literally created
the curse is the problem behind all of the stuff that
happens in " Bly Manor". Even Hannah and Owen,
the most precious angels in the world who for the
record I wish had had a long and prosperous life together
never actually got together. And there were external reasons
that kind of compounded that but ultimately was their
lack of communication and being ready to admit
their feelings for each other that meant that they
never got that chance. In contrast to that, Dani and Jamie's relationship
is like built fundamentally on a foundation of communication
and trust and boundaries. Jamie isn't angry or dismissive
of Dani's hallucinations and mental health issues, she's willing to go at Dani's pace. We see 13 happy years together
with a familiar tenderness and well-worn comfort that
was moving in and of itself. The series in general gives
us some really beautiful poignant moments between the two, even through all of the,
like the ghost stuff. But I think one of the most effective is the moon flower scene. Jamie uses this beautiful physical example of her willingness to wait for Dani to spend whatever time
they might have together to nurture their partnership
as she does with the flowers even if they only bloom for a short time. This message of appreciating
the beauty and wonder that you can find rather
than bemoaning the path to getting that or deciding it's pointless because it would eventually be over like, it's some real tragic foreshadowing. Both actresses have talked
about the relationship between Dani and Jamie,
particularly how the fact that they also so well
seated together heightens that tragedy at the end. actress Amelie Eve played Jamie said, "Jamie had never had somebody
to love and be loved by in that capacity she found with Dani. Once she had that, the
fear of losing that is just so haunting to watch that person you love, that has completed you and
has made you finally feel like a whole person, to see them then suffering and carrying this weight is almost unbearable. Jamie would take it off her if
she could just take the lady of the Lake out of her
and hold it within herself because she and Dani
had the same mentality. They're both kind of
selfless within themselves and they have the attitude of, "I'm gonna protect everybody
else by taking this on." The agony of watching that
for Jamie is very raw." Yep, I'm sorry it's time to talk about strand three, the
ending, the au pair. Yep, it's at time and we
all knew it was coming, it is time to talk about
the barrier gays trope. And I'm sure a lot of
you watching this will already know what that is? But just in case you don't,
it's essentially the tendency for TV shows and movies to kill
off their queer characters, at a disproportionate rate in comparison to the straight ones. Now the issue people have with this trope is generally like how prevalent it is. And also there traditionally being a lack of positive alternatives because in and of itself
like characters dying is that's part of drama and
like ultimately part of life. But the reason why it can
be seen as quite damaging, is when the reason for that death is tied into that character sexuality
through like depression and suicide, homophobia, like assault or if like the one gay character and this huge ensemble
of straight characters is the only one to get killed as heterosexual characters, they don't die because
they're straight, right? Like their tragedies and their deaths are not inherently linked
to the hetero-sexualness of their sexualities. Like "Romeo and Juliet"
die in a romantic tragedy, but they don't die
because they're straight, they die because of family
feuds and misunderstandings and because they're like
ridiculous teenagers and often we'll see these
like common narrative reasons or justifications for
killing off gay characters, through film and TV history, which a lot of these kind
of barrier gays situations sort of fall into. So example number one would
be like gay characters are inherently perverse or
dangerous and need to be seen to be punished. So, I mean, this is something I've talked about a lot on the channel but this is kind of more old
school linked to the 1930s establish to aze code in Hollywood, which was a form of like self-censorship that Hollywood put on themselves in order to essentially escape
censorship by the government but this uncovers way
more than your sexuality, it looked at crime or
wrong evil doing in sin as it was described. Essentially kind of saying
you might be able to show someone doing bad stuff but like they need to
be punished at the end. Audiences need to know that
they were in the wrong, they're the villains
and that they will get what's coming to them. We also have like the noble sacrifice kind of didactic teaching
moment for straight audiences. The most like just outrageous, the obvious use of this is the ghost faces in "Supernatural". Just like it's signposted so hard. You also have the like weirdly prevalent like crazy lesbian or bisexual woman trope where one woman in a Slavic
pairing will be killed off and the other one it's kind
of like to justify them going crazy or like becoming evil. So you see that in like
"Teen Wolf" and "Buffy" and just yeah, it's, I
mean I was not saying, I don't know where it comes from, I do know where it comes from, you know we might do another video on that 'cause that stuff it's complicated. The fourth one is like historical accuracy so in films like " In the
Heights", the idea of like, Oh, well you know, historically
in the "Holocaust", for example, gay men were persecuted. So it's just historical accuracy
for us to show them dying. Similarly to that, we have like everything
to do with the AIDS crisis which often times like
weirdly I think fetishized the suffering of gay men. Yeah, there's a lot,
there's a lot of that. Spit balling off that one as well, you also have the more general
like queer people's lives are just like inherently tragic and sad. And this like often this
one comes up in films that otherwise like they
don't really fit, fit that tone of like people just
like characters just dying. So like "The Best Exotic Marigold Hotel" is a classic example of this that just comes
out getting nowhere in this otherwise quite nice comedy film. Again, really kind of
rolling off this idea that gay people's lives are
just inherently terrible. We've got all of the like gay bashing and assault storylines. Sober about mountain is a
classic example of this. I also think that although
it is bury or gaze, there are a lot of trans-narratives that also kind of have
similar vibes to them. There's a lot of different tropes that go into trans-portrayals. A lot of them very negative, but something like
"Boys Don't Cry" I think would also kind of feed
into this same idea. And the final category
is a drum roll please. There's suicides from being
so sad that you are gay. So there's kind of like misery
porn around the portrayal of queer characters. Arguably kind of has a lot of success within mainstream straight audiences because it allows them
to do a couple of things. One, if it's like a story
in which there is a massive homophobic antagonist character, stories around gay bashing
square bashings for example, it allows them to feel very
superior and fact that like, Oh, I would never be someone like that even as they might in their
daily lives like not necessarily be the greatest ally to
the LGBTQ+ community. It also allows them to feel a sense of like understanding queer issues, caring about queer characters without actually thinking
about how these kind of overwhelmingly negative
portrayals might actually affect the people being portrayed. Like why real-life queer
people might benefit from a narrative in which their queerness is not inherently linked to
their inevitable suffering or whatever. So I've talked about this
article before on the channel but if anyone knows of anyone
who's done kind of work on this more recently, I
would love to hear about it. So basically this journalist
called James Wilson in 2013, looked at all of the
portrayals of characters who have been nominated for Academy Awards between basically the
release of "Philadelphia", the film "Philadelphia" and 2013, and worked out how many
characters were queer, how many characters were straight and then how many queer
characters had died, percentage wise versus how many straight characters had died. And also what the endings look like. And the results were, not great. "Since "Philadelphia," in
2013 there had been 257 Academy Award nominated
portrayals of heterosexual characters and only 23 of gay, bisexual or transsexual characters. Of the heterosexual characters, 16.5% die. Of the queer characters, 56.5% die. Of the 10 LGBT characters who live, only four get happy endings." Four characters in 19 years, to me it is this prevalence that makes the berry or gays trope just like so exhausting. You can kind of watch a
film in and of itself, and like a character dying is sad. But when you see it in the context of all of these other films you can have a completely
different reaction to the same story because of everything that you're used to seeing. To be clear, I am not saying that we need to have a happy ending
for every quick character. I think that there is definitely
a space in queer cinema, for looking at queer tragedy, for looking at the actual
experiences of queer people who do face rejection
and violence and death, and who do face homophobia and bullying. Those things all very much exist and I would never want to
like sense of filmmakers and ban them from exploring those things if that was something
that they wanted to do. But I do think the use of
killing queer characters can be done in an extremely
lazy way when you were using it either to dam someone's sexuality or to specifically appeal
to a straight audience. And to me at least, that's
not what's happening in " Bly Manor". Dani is not singled out in the story. Every love story we see
on screen is doomed. A lot of characters in the show die. It is a horror series after all, but of all of them Dani's
is this the most narratively meaningful saving the
children particularly Miles who actually dies in
the original short story. The show's entire thesis can be summed up I think in Jamie's line, "To truly love a person
is to accept that the work of loving them is worth
the pain of losing them." And that is the kind of love
that Dani and Jamie have in the show. You will all either lose
someone we love this way, or be the one that is lost. That is inevitable. Like even if we were to cut
off Jamie and Dani's story before either of them die, like we know they will eventually die. By showing Dani's death, we see the full lifetime of this idea that the work of nurturing
a moon flower or a love, is not a waste because
one day it will be over. Horror especially supernatural horror is often all about metaphors. Like we can definitely have
a lot of fun joking around and kind of groaning at
the ridiculous decisions that these college students are making while trying to run away
from a murderer serial killer that ultimately is going
to get them killed faster. For the most part, they aren't that deep. And then sometimes you have films that do dig a little bit
deeper within the genre, but often they're making
a kind of meta commentary like cabinet of the woods or scream, or they're talking kind of more about general political social satire but with supernatural horror, we're often invited to view
the experience of the haunting as something more akin to a
monster in an internal sense. I mean, let's be clear, some supernatural horror
is just mindless fun. That is not a criticism. I love that shit. There was something about like creatures, and demons, and ghosts
which act as this kind of perfect exaggerated representation of like personal horror is
in our own everyday lives. Oftentimes a metaphor
for something like grief, abuse or trauma. I had someone talk about
musical theatre once the saying, that the moment in which a
character starts to sing, should be the moment in real life when that character would
essentially not be able to express what they're feeling with words, they would run out of words and instead they would be
laughing, or crying, or screaming. Songs become a kind of externalisation of this non-verbal moment of expression. In horror we see something
similar with the supernatural is a physical manifestation of
something that cannot be put into words because it is too
painful or too overwhelming or too complex. So we know some people
have looked at the ending of " Bly Manor", and
Dani's death in particular and kind of gone, really? You're just gonna give in? You're just gonna let
this evil ghost kill you? And if we were dealing with
like a straightforward slasher you know what? Fair enough if a character
just goes, you know what? Go on then just stab me, I guess, like I get how that would feel weird but I think the " Bly Manor" was going for something beyond that. And there's a few readings
of this that I think you can make. The first interpretation is
that the possession is like a form of mental illness,
particularly cancer. This idea that there's
something like inside of you, that is both a part of you, but also not a part of you,
which is slowly killing you, you can see that connection. And in " Bly Manor" what this
is specifically exploring is the idea that sometimes
there is nothing you can do. You know the idea that saying,
Oh, you have to be a fighter. You've got to fight this. You know, it's a battle
you're going to win, need to be strong. Sometimes those can
actually be pretty harmful to the people suffering. The idea that people
can be partly to blame for their death for like,
not fighting hard enough. And this reading is actually
one that was picked up by the actress who played
Dani herself saying, "I guess the biggest parallel
would be like a cancer or a parasite. Something inside you that is
invading and slowly taking your life source away." Similarly, it can be seen as
a metaphorical representation of mental illness and
particularly of suicidal thoughts. This spirit is always inside her. Sometimes it's right at the forefront, Sometimes it's easier to forget about, but is always there with
the potential to take over. I think this is something
that those who suffer from mental illnesses of various kinds can really relate to. The idea that it isn't
necessarily something which is you're always experiencing
at this particular level. It can ebb and flow, it
can leave for awhile, it can come back and can
get better and worse. And in this way, I think the beast line from
Dani is really poignant. "There's this thing hidden,
this angry, empty beast, watching me matching my movements." Dani has a wonderful life,
a wife who adores her, a flat, a job she loves,
but she can still suffer from this thing inside her own mind. And this is very similar to
how mental health issues work. It doesn't matter how
amazing your life seems to be from the outside, you can
still be suffering internally. There is something so
specifically resonant to intense mental health
issues in Dani's line. "I'm not even scared of her anymore. I just stare at her. It's getting harder and harder to see me. Maybe I should just accept that and go." The idea that you're somehow
being consumed by your illness or having this inability
to separate what is you and your like natural innate personality and what is your anxiety
or your depression. I think that's very relatable, like a lot of mental health
issues do feel like someone else is piloting your body,
going through the motions or effecting your thoughts. Now, it can be argued that this isn't a straightforward reading, that here are some elements of the story that don't kind of support
themselves within the reading, I think particularly the
idea that Dani potentially brought this suffering on herself by accepting the restless
spirit in the first place, which obviously doesn't map on too well to mental health issues. But here's where I think
we need to come back to the differences between
"The Haunting of Hill House" and "The Haunting of Bly Manor",. So the TV series, "The
Haunting of Hill House" is based on, as I mentioned earlier,
novel of the same name. And there are some major
differences from the book. Obviously the time period is different, but I think one of the biggest differences that makes the most change
in terms of the reading of the story, is that in the book, it is a
group of vertical strangers that are making up our cast of characters whereas in the TV show, it is one family and I think that was such
an interesting decision to really intensify
everything that's happening. Just having them be a
family really complicates the bonds between characters
and also as this level of tragedy to them pulling
away from each other over the years. More than anything, it really
served to tighten the themes and relationships and storyline. In contrast " Bly Manor"
is like, let's be real. It's kind of messy. To me it feels almost like this collection of smaller stories which
don't necessarily entirely gel together but have a
similar theming behind them. Like you have the story of Hannah, this dead ghost woman who is
so consumed by the routine and monotony of her life as a housekeeper that she doesn't even realise she's dead. There's Viola, the woman
who soul was trapped inside of a clothing trunk that
her husband had promised to only open for her daughter. You have to doomed ghostly lovers who vow to possess the children of
the house so that they might leave the grounds. " Bly Manor" to me feels
more like this dark dreamy fairy tale type story,
rather than a kind of logical straightforward supernatural one. And I think this is absolutely emphasised by the idea of it being a frame narrative. So having a storyteller who we
start and end the story with, especially because she's
telling it as a ghost story which traditionally is told orally. The tradition of communal
gathering and storytelling creates an art form that's a
lot more fluid and formless and the rigidity of the written text. And we can especially relate
that back to Hill house because of course we
have this main character who is themselves an author. Like you can almost feel this
kind of folk tale ending of, and every night the
gardner can still be seen leaving her door open a crack, waiting for her loss love to return. And this bitter-sweet ending I think has really exemplified the most by the end shot of the series. When Jamie is finishing her
story to the gathered crowd, she talks about what
she believes it's facts of what is happening to Dani. So she is slowly decaying beneath
the Lake and that her soul or her spirit or her
memories are disintegrating that she will not be able to remember who she is or any particular moments and that, she's like harmless as a dove, she'll be wondering. Similar to what Viola did
but with none of the malice that Viola had, and that to
Jamie is what she assumes it's happened and she
explains that as fact. And so we as an audience kind
of assume it's fact as well. However, the final shot of
the series is of Jamie waiting by the door and of Dani's
hand on her shoulder showing that unlike every other ghost who had been at " Bly
Manor", she hadn't forgotten, she hadn't been wandering the halls alone, she'd been able to leave
and she'd left with Jamie. It's very clear that Jamie still cares about dining a great deal,
that she was kind of the love of her life. And there's also this kind
of very bittersweet element depending on how you interpret
what might happen next. Do we think that Dani would ever be able to reach out and contact Jamie or do we think that she is
going to be always present and watching over her and remembering and keeping that memory alive, but not necessarily able
to get into contact? I don't know, what do you think? So this brings me to the end
of this video on " Bly Manor". I hope you've enjoyed
this deep dive into how darn gay the series was. I personally really enjoyed it but I can absolutely
understand people who found the gay storyline way too sad or who are complaints about the idea that although it was
built as a horror series it wasn't really that scary. But for me, I just, I really enjoyed it. And I thought there was
a lot to explore there. I would love to hear any of your thoughts about the series in the comments below. If you would like to help
support me make these videos, then I'll leave a link to my Patreon in the description on
with all my social media. So you can find me all over the internet and until I see you next time, bye.
