Monday, May 22, 2017

13 Reasons Why - Side 5: Clay's tape leads to one of this year's most heartbreaking episodes

Side 1: The Setting
Side 2: An overly contrived premise can present a challenge
Side 3: Hannah Baker, from joy to despair
Side 4: Clay, an outsider who isn't an outcast

[Extra warning on this: this is extremely spoiler-heavy with details of the 11th episode of 13 Reasons Why.]


That was almost the only word I could muster after watching the episode of 13 Reasons Why devoted to Clay's tape. It's the eleventh episode, with teleplay by Diana Son, and it's an hour of television that really stabs you in the heart with tragedy and then twists the knife.

Hannah's tapes form the spine of the series, but it's the Hannah/Clay romance that gives it its heart. We've covered a lot of this backstory in the individual posts about Hannah and Clay, especially the significant moment between them on the dance floor in episode five. Those long seconds where they stare at each other, both of them clearly wanting to kiss, and then having that moment ripped away felt important on a first viewing. My second run through the episodes made me realize that moment is even bigger. It's the one point in the show where Hannah could have been saved.

I think the series does an able job of demonstrating that a multitude of factors and choices contributed to Hannah's downward spiral. Once she was in that tailspin, other incidents were catalysts for an even deeper depression, but I also get the feeling that rock bottom was an inevitable destination for her. Traumas like her rape absolutely accelerated it but Hannah's poetry and note to her teacher are pretty strong evidence she'd been depressed for a while already. She needed counseling and so changing one thing, one action wouldn't reverse it.

But her dance with Clay comes right before all that. And it's hard not to imagine if they had gotten together then, so much of what hurt her would be invalidated or have never happened. It's the one pivot point in Hannah's life that could have changed everything. Though it may be a problematic message to say that the love of a nice boy saves everything, there's a better way to look at it. Hannah's depression builds because she doesn't have a strong connection to anyone. There's a deep loneliness to her, no matter what else she tries.

During my first run through the series, it was around episode 8 I tweeted, "I'm at the point in the show where every time Hannah's alone with a male character, I'm bracing for the worst... You just want to give the poor girl a hug, but given her state of mind, that would probably be a terrible idea."

So if nothing else, I was perceptive, but we'll get to that shortly.

It feels true to life that Hannah's decline isn't a steady fall. At the top of the three episodes that flash back to events at an end-of-summer party, Hannah's decided to give herself a fresh start. She cuts off a lot of her hair, is determined to study more and get things back on track. When Clay invites her to the party, she declines, so committed to working on her academics.

Clay goes only because his friend Jeff - who's tried to help him with girls - insists he go. Let me tell you, if you want to know Teenage Me, just study everything Clay does at the party, up to the moment he kisses Hannah. From showing up too early, to nitpicking a baseball metaphor that Jeff uses to convince him to go talk to Hannah, it all felt VERY familiar to me:

Take a swing.

A swing?

You got a fat slider in your sweet spot. You gotta swing your bat through the strike zone, man, and knock it out.

Oh, see, I'm aware that those are baseball terms. And if I'm interpreting correctly, I think that given my batting average, what I would actually end up with is a strikeout and not a homerun. With that said, very good use of an extended metaphor.

It's uncanny.

Katherine Langford and Dylan Minnette have undeniable chemistry in this episode. You really believe these two are falling in love, or at least, are finally able to express what they're feeling for each other. I know fans of virtually every teen show get invested in their favorite character pairings, but I have to reach back pretty far to think of a coupling I really believed in and was so emotionally invested in.

But we know how this story ends. Hannah's death hangs over the entire series, but it was this episode where I found myself trying to will another ending into being. She's going to be ripped away from Clay, she's going to choose to end it all. Every minute of cute, easy banter with Clay just makes the audience want to scream, "You didn't have to do this! He loved you!"

It also makes us empathetic to Clay's loss, and in another effective writing choice, this episode turns into the catharsis for Clay's grief. There's real purpose behind every choice in this episode. The writers didn't craft an hour that's an overt downer from start to finish. This isn't like "The Body" episode of Buffy the Vampire Slayer. Here the highs of young love are exploited to make the fall back to Earth that much more impactful.

When the moment arrives, it's even crueler than we feared. The craziness of the party leads the two of them to slip into Jess's bedroom for privacy. It's innocent enough for a moment as they crack jokes about Jess's pet rocks and what they would be named. It leads to Hannah teasing Clay about his name, but reassuring him, "I like the name Clay."

Clay gives it half a beat and says, "I like the name Hannah." A small moment passes, where I'm sure Clay gathers the strength to do what he's likely kicked himself for NOT doing last year at the dance... and he kisses her.

They ease each other back onto the bed and though there's no doubt that Hannah's as invested in this as him, Clay asks, "Is this okay?" Through a smile, she replies, "Yeah, more than okay." Hannah's voiceover tells us, "At that moment, everything was perfect. And for the first time in a long time, I could imagine a future where I was happy, how good life could be." We're shown fantasies of what their life together could be like (where it seems significant that Hannah pictures herself with her longer hair and not her current cut.)

And then it turns. Hannah's tape narrates, "I wanted you to do everything you were doing, so I don't know why my mind took me everywhere else and I thought of every other guy.... and they all became you." The montage of them making out on the bed is intercut with every violation visited upon Hannah thus far on the show, the groping, the humiliation, the harassment. It's like watching a PTSD survivor be triggered and she quickly shouts at Clay to stop and pushes him off. She's practically in tears and a bewildered Clay asks if he did something wrong.

He asks if she's alright, showing his immediate concern not being the passion that was broken, but her well-being. She tells him to get out. He reaches out to her again and she says "Get the fuck out!" And because Clay's the type of guy who respects a girl's wishes, he leaves, more than a little confused bout what he did wrong and very hurt.

Those last several paragraphs were more recap than analysis, but the scene bears examining that carefully. We have enough information to understand both perspectives. Hannah's not a horrible person for making him feel bad, nor is she being a drama queen. And Clay, well, we understand just how hurtful and humiliating that must have been for him. It's simply beautiful writing, where two characters come into conflict over two totally justified mindsets. Neither one is "wrong." Both are completely true to the characters. We get why she pushes him away, even when she doesn't want to, and it's crystal clear why he leaves, even though he wants to stay and help her.

It's a defining moment for both their arcs, where neither character is sold out and every circumstance that put those two in that room comes together in a way that brings them both agony. Multiple layers of conflict are in play here. Hannah's heart vs. her depression, Clay's love for Hannah in conflict with how stung he is. Hannah in conflict with Clay because of what he's triggering in her. Clay's conflict with himself in deciding whether to stay or leave.

The show makes this look easy, but getting all those threads to come together in a perfect symphony? That's hard. Diana Son's teleplay is a master class in that kind of character writing. I'm in awe of this episode every time I've watched it.

And immediately this recontextualizes a moment shown in the previous episode, set after the party. Clay's friend Jeff is killed in a car crash later that night of the party, and Hannah knows circumstances of the accident that no one else does. The following week at school, a tearful Hannah approaches Clay to say she's sorry and ask if they can talk. Clay, still stinging from the party, snaps that she didn't even know Jeff and accuses her of being a drama queen about it to find a way to make it all about her.

When we first saw that scene, Clay's attitude seemed unusually harsh for him, but it was understandable. But once we have the full story of what he was also mad about and what she was trying to explain and apologize for, it becomes clear that was probably another breaking point for Hannah and another moment Clay regrets.

Hannah's tape continues: "Clay? Helmet? [Her nickname for him] Your name does not belong on this list but you need to be here if I'm going to tell my story, if I'm going to explain why I did what I did. Because you aren't every other guy. You're different. You're good and kind and decent. And I didn't deserve to be with someone like you. I never would. I would have ruined you. It wasn't you. It was me. And everything that's happened to me."

I've seen complaints that the show doesn't make it "clear" that Hannah suffers from depression. Bullshit. Listen to that monologue and tell me that's not someone who's DEEP in depression. It's one of the saddest TV character speeches in recent memory. Like Clay we're simultaneously shocked at the depth of her self-hate and realizing that it's a realistic conclusion to everything Hannah's been through.

Dylan Minnette acts his ass off in the next scene as this causes Clay to totally breakdown. At one point he stands on the edge of a cliff as Tony implores him to come back. Clay says he should have stayed with her. He knew something was wrong and he just left her there. It's wrenching to watch. He truly believes she's dead because of him. It doesn't matter to him that she wasn't in her right mind when she concluded this. He feels he had a responsibility to stay.

He imagines a different version of that night, one where he doesn't accept it when she tells him to leave. He stays, and when she reminds him that he thought she was a slut just like everyone else when he saw that picture, he tells her "I was angry for a minute because... because I was jealous of Justin. And I was mad at you for wanting him and not me. I was an asshole, and I'm sorry. I can never make it right, I can never say all this to you, but I love you, and I will never hurt you. I'm not going, not now, not ever. I love you, Hannah."

Langford's steely delivery makes her response wrenching enough on its own, but it's downright devastating knowing this comes from inside Clay's mind: 

"Why didn't you say this to me when I was alive?"

We return to Clay on the cliff with Tony, stepping back from the ledge as he weeps for what he'll never have back. He couldn't have saved her. No matter what he convinces himself of in hindsight, a seventeen year-old boy in that situation would never have had the maturity and the insight to recognize what was going on and diffuse it.

He asks Tony how he's supposed to live with what he's learned. Tony says, "Any way you can," and pulls him into a hug.

Done wrong, the distance between Clay and Hannah in her remaining days could have felt contrived, a device to keep her from seeking help and keep him from reaching out. This show does it right. Everything from Clay's perspective reinforces his judgment that Hannah's being a drama queen and he reacts by withdrawing from her so he won't get hurt again.

Just like she withdrew from everyone else.

It all comes from character. These are complex people, with complicated emotions and reactions.

I thought of the Hannah's I've known, the drama queens, the attention-seekers who turned on a dime. From the outside, they seem bi-polar. They open up to you one minute and seem to distrust everything about you the next. More often than not, they'll exhaust you. For the first time I wondered if that was provoked by them having gone through something way worse than I imagined.

Clay didn't kill Hannah, but you'll never convince him there wasn't more he could have done. The depth of this tragedy is, well, like I said... heartbreaking.

Side 6: Mr. Porter - Terrible Counselor or Worst Counselor?
Side 7: Do depictions of suicide provoke imitation?
Side 8: Generating tension that stokes viewer intensity
Side 9: Keeping storytelling clarity in non-linear structure
Side 10: Alex's storyline hides parallels in plain sight
Side 11: Fleshed out parents help deepen the other characters
Side 12: Episodic structure makes a comeback
Side 13: Thoughts on Season 2

1 comment:

  1. movie365 - Having just finish watching this, I am both stunned and heartbroken. This is a gritty tale of life and the cause and effect of other peoples actions which can force someone into thinking their only way out is suicide. Don't dismiss this as yet another teen angst series; its not. Its an important piece of cinematography which about the darker side of life. If you have older teens, watch it with them. Make them see what it can really be like for some people and that their actions have consequences. It gets pretty hardcore at the end, making you think. Making you stop. Making you realise what what you should do is sometimes very different from what you actually do. You don't have to have handed someone the gun, sometimes its because you don't take it away from them too; doing nothing can be just as pivotal as causing the heartache. The acting is marvellous from these young adults depicting what its like trying to survive modern life as young adults and what they will, or wont, do to fit in.
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