Yikes, I didn’t pick up the uniform/clothing thematic connection on first or second reread. D: Although, not sure if that is actually a problem – sometimes overt symbolism is really irritating. I think of Brideshead, which was likely loaded with meaning which is only really felt subconsciously or with a very heavy critical analysis reading, mostly the symbolism is just integral to the text and feel, and the reader feels it without even needing the conscious thought. In Tyrants, the whole clothing ref, comparisons to Orlesian style, etc – it all felt very connected to Marian and her emotions as opposed to a camera ‘focusing’ on the symbol almost out of context, if that makes sense? I think it's a good thing.

I wanted the end of that scene to leave Marian+Reader feeling uncomfortable, betrayed, but unwilling to break off the relationship.

Ah, now this is unusual – I read the length of the text really feeling Marian’s discomfort and her anxiety, but by the time I hit the end of the text, she felt, hm, resigned? Accepting? I went away with less anxiety about Cullen than all the uncertainty set up before. His ending line in particular:

“You know what is true and what is not. Let them say what they will.”

It feels like this suggests Hawke has agency to control her response to the situation, even if she can’t control the situation or the performance she has to give, which is a level of empowerment not suggested elsewhere in the text. (Even if it is Cullen “giving” her or prompting her into acting with agency.)

And, following up that with Carver’s little prequel is even more interesting, because his ending line is suggestive that the whole set-up with Cullen is being “done for mother.” That could bring the slight uplift at the end of Cullen's sequence down again, but the suggestion of agency at the end of Cullen's piece lingers, leading me to be inclined to believe the idea of Cullen/Marian is not so ‘uh-oh’ as the bulk of the text represents.

More shortly, after I actually do some work at work. ;)