So, let’s go over the similarities now between the visuals between the Raven/Hank scene, and the second half of the Charles/Erik plane scene.
I’ve established in Part I that both scenes are laden with sexual tension. One is spelled out- the heteronormative one- and the same sex one is hidden in the “plain sight” surface subtext. (Just like gay subtext in films from the 1970s.)
I’ll do this mainly in screenshots.
(See, open vs hidden in plain sight)
To: (Raven touches Hank’s face, Hank looks down. Erik grabs a glass like Charles’ glass- the one he ran his thumb down, pours some liquor into it. Charles side-eyes him. Erik takes a drink and closes his eyes. One touch in the open, one in surface subtext.)
And then to:
To the kiss:
(One out in the open, one hidden in plain sight.)
And then the plane scene cuts from the above to:
Ah, yes, the old “rocket blast/train/phallic object” shot. I love it. I love the consistent use of phallic objects that ALWAYS follow chess games with Charles and Erik. Chess, by the way, is absolutely subtext for sexual activity (in addition to symbolism for strategy) for Charles and Erik and has a well known history as a popular game used in medieval times in the tradition of courtly love. That’s the use we see in the new trilogy.
Now- the music to tie it all up. At the beginning of Part I, I gave you the music that John Ottman scored for the Raven/Hank scenes and the music for the Rogue Rescue/Erik retrieving his helmet. This music for the goodbye scene at the end of DoFP is here, the music for the chess scene on the plane is here, and the music for Mystique sabatoging Cerebro is here.
ALL those scenes above, those scenes that we went over in both parts of this post? ALL SHARE THE SAME MUSIC. The music for the Raven/Hank mansion scene, the goodbye scene, and the chess plane scene is romantic and bittersweet. The music for Erik retrieving his helmet, the Rogue rescue, and Mystique sabotaging Cerebro is intense and angry. But the musical themes are the SAME. That connects all those scenes together.
And ALL those scenes? Share musical themes with the DoFP version of Erik’s and Charles’ theme Rage and Serenity, Hope.
Because EVERYTHING is about Charles and Erik. Everything. These films are their love story, and the Rogue Cut completes this particular part of it.
That’s the Rogue Cut analysis!
After all that, it’s not hard to see why the Rogue Cut was so important. It apparently cost Fox a mint to go back and reshoot these scenes, but that’s the cost of not listening to the fans who clearly wanted Rogue in the film, and very much wanted more Charles and Erik. And I imagine, as I’ve said, that the filmmakers/screenwriters would’ve wanted to complete the picture they started in First Class and continued in Days of Future Past. Without the Rogue Cut, the writing feels incomplete, and the Charles and Erik story definitely is. So, I’m glad they went back and did this because now we have the full story.
And just remember…
XMA is next. Age of Apocalypse is a Charles and Erik love story. The Twelve is a Jean and Scott love story, and Barakei and I have a meta coming that walks through those stories and pairs them with a few scenes from the trailer. We believe both of those canon love stories will be used for Charles and Erik, just as they’ve done for the last two films. But this time, instead of the beach divorce, and instead of the somewhat amicable parting of ways in DoFP, we’ll get Cherik.
Remember how the end of DoFP went?
A love song, The First Time Ever I Saw Your Face by Roberta Flack plays softly on the radio. Logan wakes up, and makes his way through the house. We see lovers back together:
Bobby and Rogue
Kitty and Colossus (who are canon lovers and fairly controversial because of the age difference):
Storm is alive, who was Wolverine’s lover in the dystopian future (and an interracial couple, by the way):
Jean is alive, who is arguably the love of Logan’s life (in the old films):
And so is her husband, Scott, who is the love of Jean’s life in the comics:
Everyone alive, lovers restored. Except two people are missing. We see Beast, we see Charles. But Erik and Raven are nowhere to be found.
That’s because their love story arc ends in XMA. We already know that Raven’s and Hank’s relationship will be given attention and will be resolved- Kinberg has said that in several interviews.
So will Erik and Charles, who are the focus. The center. XMA is the “culmination of their three act love story.” And we’ll finally get the moment we all- the LGBT community, the fandom, and the shippers- have been waiting for.
KEEP THE FAITH. CHERIK IS ENDGAME.
More to come.