FONs in ACTION

You know, I have a distinct feeling that once this is all said and done - meaning Chair finally gets back together and the world is back on its axis that we're going to have a lot of those supposed 'ship jumpers' come swimming right on back. So hence we're going to need a bigger boat. Now, I would like to call all those FAKE!Nairers! (or Vucker-fuckers) the FONs. The FONs are the 'Friends of Nathaniel' as they easily jump through ships like Nate jumps through girls. So, while we wait for the FONs to take action why dont we praise a good post made by a non-FON in regards to Chair.

And I hope you all know that we not only take wankings in our emails, we also take AWESOME smart posts that we can share with the whole class! Below is our friend Alice who continues to baffle us with her ability to word our thoughts, our displeasure, the beauty of Chair and now the stupidity and inconsistency of Nair. Enjoy this excerpt from her essay that she sent in the writers.

The delicious tension of a great love story lies in dramatic irony – we know what they do not; that which is utterly self-evident but to which they are utterly blind. It is no use blinding the audience and then asking them to see. To have every character extolling the virtues of Nate and Blair when your audience was told since the Pilot that they are utterly wrong for one another, that Nate was in love with someone else, that their relationship was based on social expectation, childish ideas about love and Blair’s determination to be Audrey Hepburn even if it killed her, is ludicrous.


Vanessa’s homespun honesty and her lack of guile were what attracted Nate to her; her lack of interest in playing the game and, most importantly, the fact that her nature was antithetical to Blair’s. Every time any woman in his peripheral vision has behaved like Blair (Catherine, Jenny and now Vanessa), he has aborted their affair instantaneously. Nate does not like his girls complicated. His sudden desire to be with Blair has returned precisely at the moment when she has begun to behave the least like herself. Just as it did before. She’s softened her edges, repressed every ugly part of herself, retracted her claws. In short, she has relinquished the power she has in spades which terrifies a man like Nate. Their being together does nothing for their maturation; it merely compounds the very worst of themselves. Their relationship keeps them in a state of suspended animation, which, for Blair at least, keeps the pain of her father’s abandonment and the death of all her youthful ideas about a perfect family, at bay. This is arrested development, a state of being which I think any psychologist would agree is a very bad thing. Indeed, any attempt by the show to validate their relationship will be, for this viewer, truly disturbing and regressive. Is the audience supposed to believe that the disempowerment of a woman is what is necessary for ‘true love’ to persist? That preserving some Victorian ideal of a simpering, deferential femininity is a good thing?


Do you expect anyone to cheer for the resurgence of this? Do you expect anyone to be sold on the idea that a man who has flitted between five other women, who we were being told was in love with Vanessa until he coldly revealed to her, and the audience, that we had all been misinformed, is in love with someone he cheated on and didn’t tell for six months and with whom he has shared a total of five scenes within eighteen episodes?

I swear, this girl's too smart for this show.

And now a little shout-out to Maeuis who has done one hell of a Chuck/Blair picspam. Gave me chills!