nessataleweaver (nessataleweaver) wrote,
nessataleweaver
nessataleweaver

FANMIX: Anam Cara : Thomas Lynley and Barbara Havers (The Inspector Lynley Mysteries-TV)

more or less finished for years! Finally managed to drag it out of mothballs for waywardmixes #24: OTP.
Please excuse the not-very-good covers - Lynley and Harvers deserve better, but these were actually some of my first real attempts into graphics.


anam cara front_1



anam cara back_1


ZIP file can be donwloaded from mediafire HERE

Anam Cara: a fanmix for Detective Inspector Thomas Lynley and Detective Sargeant Barbara Havers
(fandom explanation and tracklisting under the cut) Turns speculative at the end, because of the show's abrupt cancellation halfway through S6.



THE INSPECTOR LYNLEY MYSTERIES (tv)

Anam Cara:
Detective Inspector Thomas Lynley and Detective Sargeant Barbara Havers

(NOTE: this is partly – maybe mostly! – taken from a ship manifesto that I beta-ed and contributed to. Still not sure whether the claimant ever released it)

The Inspector Lynley Mysteries is a BBC series that began airing in 2000 and aired its final episodes in 2007. Adapted from Elizabeth George’s novels, the show follows the lives and cases of Detective Inspector Thomas Lynley of Scotland Yard (played by Nathaniel Parker) and his partner, Detective Sergeant Barbara Havers (played by Sharon Small). Initially, they’re partnered by expediency – and a contingent hoping to get Barbara thrown off the force. There were bets that this partnership wouldn’t last a month. It wound up lasting seven years – and that’s just what we see onscreen.

This pairing should never have worked. Lynley is an aristocrat born to privilege. He can be condescending, high-handed and superior. Havers is working-class; she is difficult, defensive, prickly and utterly incapable of both accepting a gesture of friendship and uttering the words “I’m sorry.” But somehow, this impossible partnership becomes a relationship greater, deeper and more all-encompassing than most people ever know. Theirs is a bond so strong it can withstand every argument they have ever had or ever will have – a bond so strong enough to overcome a wide gulf of upbringing and social class, in a land where even today the class system is very much alive, well, and respected.
It has been noted that “Lynley and Havers work so well together because no one else wants to work with them,” and there is quite a bit of truth to that statement. However, Lynley and Havers also work well together because they complement each other – Lynley’s extensive education means he can find clues and make connections most would miss, and Havers’ working-class background gives her the street smarts and common sense to balance him. Although she uniformly calls Lynley “sir”, (and he only calls her ‘Barbara’ in extreme circumstances, or when they visit Lynley’s ancestral estate in Cornwall!) she is also unafraid to take him to task when she thinks he needs it – and the more they work together, the more he listens.

The eighth Earl of Asherton, Detective Inspector Lynley is a cop by choice. He is Oxford-educated and a privileged son of a privileged family. Much as he wishes to deny it, he is an aristocrat, and he thinks like one. Nevertheless, he throws everything he is into his cases and is a temperamental man given to deep passions and strong emotion. Lynley will do what he thinks is his job first and clear it with his superiors later; often high-handed, he will take over a case almost without meaning to. This is tolerated because he is one of the best at what he does – he is a Detective Inspector when many of his fellow cops a decade older are still Detective Sergeants – and rarely fails to solve a case.

Detective Sergeant Havers, on the other hand, is a hard-working, working-class girl who has quite literally fought for everything she’s gained and never fails to take a stand when she believes in something. Cranky, foul-mouthed and with massive resentment issues, she is blue-collar bred and almost defiantly proud of it. Her first response to anything she perceives as pity, sympathy, or condescension is to make a cutting remark in hopes of driving the other person away. She’s never expected anyone to tolerate her for long, and she is thrown completely off her game when Lynley chooses to stick with her despite their initial meeting. But like her partner, there is far more to Barbara than meets the eye. She is often shy and awkward, especially in a dating situation – or surrounded by the upper class, which happens far more often than she would like – and hides a soft, romantic, almost fragile heart and low self-esteem, as well as tremendous compassion and loyalty, beneath her tough, no-nonsense shell, which makes her wonderful with children and victims.

Lynley and Havers also have more in common than you might think; both utterly devoted to their work, they’ve been irreparably scarred by respective family tragedies and are both burdened by family responsibilities they can’t turn away from. They’re also both crap at relationships (except each other); Havers never really has a serious love interest – for awhile she has a promising friendship with her Pakistani neighbour, but it never becomes anything more. Lynley, on the other hand, eventually marries Helen Clyde, one of his oldest and closest friends; however it’s nearly sunk several times before it ever starts, and they seperate fairly quickly in the show.

One of the best examples of this is at the very end of the episode ‘For the Sake of Elena’; Lynley and Havers are having a fairly depressing conversation about love (various and twisted forms of love are a major theme in this episode). Lynley’s also angsting about Helen, who still hasn’t really accepted his not-quite-epic fail of an apology for his actions during the previous episode, that screwed up her most promising relationship in years.

Lynley ends his rant with, “Tell me, Havers, have you seen one good, loving, halfway selfless relationship since you’ve been here?”

The very first time I saw this (and at the time I didn’t even understand what ‘shipping’ really was!) I immediately replied out loud, “Well, there’s your relationship with the woman sitting right next to you!”

It’s also in this same conversation that Havers calmly points out that Lynley is in love with Helen, which the oblivious man hasn’t seemed to have figured out himself. In fact, between Lynley’s blindness to his own feelings, Helen’s deep misgivings about romantic relationships, and their mutual bad timing, Lynley and Helen might not have ever gotten together at all, if it wasn’t for Havers!

It’s worth noting that Lynley and Havers’ relationship is utterly platonic in the novels; this ship is built by the chemistry and skill of the actors. This love story is mostly made up of subtext, of passing glances and carefully spoken words. One of the most lovely and most infuriating things about Havers and Lynley’s love, is that it’s so organic and subtle, that it’s basically just another aspect of their deep-rooted bond and how they regard each other. In both their personal experiences, all love (familial as well as romantic) is painful, something that you hang onto even though it hurts. They don’t realise that what they share is love because it’s so natural and easy.

The whole series (five and a half seasons of movie-length episodes) is available on Netflix; the PBS channel screened it as part of their Mystery! Block at one point. I really do recommend getting the DVD box set though, as it has scenes that were cut from the US broadcasts, if nothing else.

The title ‘anam cara’ is from Irish Gaelic, and means ‘soul friend’; in the Irish Catholic Church (quite a different practice from the Roman Catholic Church, who eventually swallowed them up in the 12th century or so) a soul friend functioned in the role of ‘confessor’ – someone who could always be trusted to keep your secrets and give you the best advice they could.


Big Machine – Goo Goo Dolls
(Lynley POV on S1 Havers; the worst prospect for his partner turned out to be the greatest)

Now this angry little girl
Drowning in this petty world
And I'm who you run to
Swallow all your bitter pills
That's what makes you beautiful
You're all I’m not
I don't need what you ain't got

Underneath the Sycamore – Death Cab for Cutie
(Lynley POV, from the mini-arc about Barbara’s troubles with her parents in S1, until S2’s A Suitable Vengeance when she finds out just how dysfunctional his own family is; in the beginning, he’s the one who realises that they’re a lot more alike than Havers thinks.)

We were both broken in our own ways
Sifting through the rubble for the wrong things
I know you've got a vengeful heart
And I cannot be stopped as soon as I start
But you have seen your darkest rooms
And I have slept in makeshift tombs
And this is where we find our peace
Oh this is where we are at least
We are the same

Broken – Lifehouse
(Havers POV S2, after Playing for the Ashes, and during In the Presence of the Enemy; I really don’t think she worked out she was in love with Lynley until after his relationship with Helen solidified (it’s not like the poor thing’s familiar with the concept, after all). It’s fairly obvious that there was more than one reason she never felt more for Robin Paine than ‘I liked you’ (despite what he thought!). That look on her face when she sees Helen and Lynley kissing after his proposal speaks volumes.)

The broken locks were a warning
You got inside my head
I try my best to be guarded
I'm an open book instead
And I still see your reflection
Inside of my eyes
That are looking for purpose
They're still looking for life

I'm falling apart
I'm barely breathing
With a broken heart
That's still beating
In the pain (In the pain)
There is healing
In your name
I find meaning
So I'm holding on
I'm barely holding on to you

The Beauty and the Tragedy – Trading Yesterday
(Havers’ POV, Deception on His Mind, S2. For some reason, this just reminds me of the conversation Lynley and Havers have – with him looking up at her while she leans out her hotel room window, no less! – when she’s sweetly sad but still glad that marriage to Helen is making him so happy. Not to mention, the way Lynley clearly establishes that no matter how happy marriage makes him, it doesn’t lessen how important Havers and their bond is to his life. Then their achingly beautiful final scene, when Barbara reveals he’s the only person that’s never let her down – which explains a great deal about her attitude in early S3.)

Watch your step, love is broken
I am every tear you cry
Save your breath, your heart has spoken
You already have my life

For I am finding out that love will kill and save me
Taking the dreams that made me up
And tearing them away
But the same love will take this heart that's barely beating
And fill it with hope beyond the stars
Only love

Another day, another sunrise
Washing over everything
In its time, love will be mine
The beauty and the tragedy

Darkening Sky - Peter Bradley Adams
(The closing moments of If Wishes Were Horses, S3) "Havers? Barbara… Barbara."

Oh come with me forever my love,
Under the darkening sky.
Come hide with me,
I’ll save you my love
Hear me, I’ll beg for your life

Her hair is damp,
Her skin has turned cold,
There’s hardly a sound that she makes.
Oh stay my love,
Please open your eyes,
And promise me you’ll never leave.

Crash and Burn (acoustic and live) – Savage Garden
(Lynley POV, In Divine Proportion, S4. After being held hostage and having her PTSD from her own recent shooting triggered, an unarmed Barbara takes down the gunman and beats the crap out of him, because that’s how she rolls. After being held back from entering by a Police Tactical Response Team (let me repeat that; it takes the UK equivalent of a SWAT team to keep him from going in after her!), Lynley rushes in to find Barbara as soon as the other hostages come out and give the all-clear. He completely ignores the officers arresting the very murderer he and Havers have been sent to find, instead ushering Barbara out of the pub. He knows she’s not alright, and puts his arm around her. She turns into his chest and breaks down, sobbing uncontrollably. He hugs her tightly and kisses her hair. And now remember that they’re British.

I chose the acoustic version of this, because it fits the scene much better)

When you feel all alone
And a loyal friend is hard to find
You're caught in a one way street
With the monsters in your head
When hopes and dreams are far away and
You feel like you can't face the day

Let me be the one you call
If you jump I'll break your fall
Lift you up and fly away with you into the night
If you need to fall apart
I can mend a broken heart
If you need to crash then crash and burn
You're not alone

In My Life – The Beatles
(Word of God, S4. Quite possibly the ultimate Lynley-Havers Moment.

L: How do you do it? Living alone.

H: Oh – you get used to it. I’ve never been married – I’ve never had anything you could call a relationship. So you get to a point where you just have to accept what you are, what you have. And then you find something else, and that gives you the reason to get up in the morning. [looks directly at him] And I have that, don’t I.

L: [looks directly back at her] We both do.

I also think of this as a perfect wedding song for them, acknowledging all the important people they’ve loved before they were finally ready for each other. Just my opinion!)

There are places I remember
All my life, though some have changed
Some forever, not for better
Some have gone and some remain
All these places have their moments
With lovers and friends I still can recall
Some are dead and some are living
In my life, I've loved them all

But of all these friends and lovers
There is no one compares with you
And these memories lose their meaning
When I think of love as something new
Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life, I love you more

Right Beside You – Sophie B Hawkins
(Natural Causes, S5) “You really are a double act, aren’t you?”

Now I'm standing right beside you
Other people still exist
I don't pretend to love them less but darling
When you drive this way I lose my breath

Right beside you I feel
Right beside you I am
Right beside you I kneel
Right beside you I stand
Right beside you I see
Right beside you I stay
Right beside you I'll be
Always

Is Your Love Strong Enough? – Bryan Ferry
(Havers’ POV, between In the Blink of an Eye, S5 Ep4 and Limbo, S6 Ep1; the greatest test of Havers’ and Lynley’s bond. He’s withdrawn from the entire world, including her. She’s fighting everything for him, including Lynley himself. Also something of a flashback to how and why she fell for him in the first place.)

Just one step at a time
And closer to destiny
I knew at a glance
There'd always be a chance for me
With someone I could live for
Nowhere I would rather be
[*]
Just one beat of your heart
And stranger than fantasy
I knew from the start
It had to be the place for me
Someone that I would die for
There's no way I could ever leave

Is your love strong enough
Like a rock in the sea
Am I asking too much
Is your love strong enough?

Is your love strong enough?
Just one beat of your heart
Is your love strong enough?

She – Abney Park
(Lynley POV during Limbo)

She has always watched over me
She takes good care of me
She is such an integral part of me
That I forgot who I was
And I forgot she was there
For me

We have traveled this world for years
We have consoled each other's fears
We dried each other's tears
Yet always in doubt, and never in doubt
Of we

Lullaby – Nickelback
(Havers POV during/end of Limbo,)

Well, I know the feeling
Of finding yourself stuck out on the ledge
And there ain't no healing
From cutting yourself with the jagged edge
I'm telling you that it's never that bad
Take it from someone who's been where you're at
Laid out on the floor
And you're not sure you can take this anymore
[*]
Please let me take you
Out of the darkness and into the light
'Cause I have faith in you
That you're gonna make it through another night
Stop thinking about the easy way out
There's no need to go and blow the candle out
Because you're not done
You're far too young
And the best is yet to come

So just give it one more try to a lullaby
And turn this up on the radio
If you can hear me now
I'm reaching out
To let you know that you're not alone
And if you can't tell, I'm scared as hell
'Cause I can't get you on the telephone
So just close your eyes
Oh, honey here comes a lullaby
Your very own lullaby

Here by Me – 3 Doors Down
(Lynley POV post-series; from recovery to renewal and realization)

The things I thought you'd never know about me
Were the things I guess you always understood
So how could I have been so blind for all these years
This I only see the truth through all this fear
Living without you

And anything I have in this world
And all that I'll ever be
It could all fall down around me
Just as long as I have you right here by me

Absence of Fear – Jewel
(companion to ‘Here by me’; Havers’ reply)

Inside my heart there's an empty room
It's waiting for lightning, it's waiting for you
And I am wanting, and I am needing you here
Inside the absence of fear

Muscle and sinew, velvet and stone
This vessel is haunted, it creaks and moans
My bones call to you in their separate skin
I make myself translucent to let you in,
For I am wanting
And I am needing of you here
Inside the absence of fear

What about now? – Daughtry
(Both)

The sun is breaking in your eyes
To start a new day.
This broken heart can still survive
With a touch of your grace.
Shadows fade into the light.
I am by your side,
Where love will find you.
[*]
Now that we're here,
Now that we've come this far,
Just hold on.
There is nothing to fear,
For I am right beside you.
For all my life,
I am yours.

Tags: fanmix, inspector lynley mysteries (tv)
Subscribe
  • Post a new comment

    Error

    default userpic
    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.
  • 4 comments