The Originals: The Maps of Moments


Ah, Christmas with the Mikaelsons. Let’s look at it this way: At least Klaus didn’t kill Tyler Lockwood’s mother again this time. In fact, the death count for The Originals’ winter finale was shockingly low, unless you count Esther in vampire transition. (Haha, take that, Esther!) I suppose we should all thank the power of body jumping, especially with it allowing Rebekah’s Claire Holt-shaped body to stay around for the future and the character to be a regular fixture on the show again, should they see fit.

“The Map of Moments” intercuts flashbacks to December 1914 in New Orleans with the current story, giving us a little more backstory on Kol’s whole relationship with the Claire witches, as well as his contentious relationship with his siblings (especially Rebekah) and Marcel. Back in the day, Kol — along with the help of a couple of witches from the Claire coven — stole a diamond from a house, only to be caught by Klaus and Marcel (who made sure to have Kol’s friends trapped in there, a punishment for insane witches). Later, while looking for the diamond, Rebekah promised not to tell on Kol (for Kol promised this would be the key to dagger Klaus), only to break her promise and Klaus and Elijah to dagger him in front of an audience at their annual Christmas party.

Now, in the present, Kol ends ups repaying his dear sister for that, by having her jump into the body of one of those trapped witches. It’s a shame he didn’t realize she’d spent a good portion of the episode defending him to Klaus and Elijah and even bringing back his favorite holiday tradition. Whoops.

The episode takes place a little bit after the one before, with Rebekah, Elijah, and Hope at a safe house in Arkansas, awaiting Hayley and Klaus’ arrival to figure out an appropriate course of action for this whole Lenore / Esther situation. Elijah, of course, feels “patronized” and like he’s “being handled with kid gloves,” since Rebekah had to snap his neck to transport him there, but … dude, you massacred an entire diner because of your paranoia. He does admit that he has no idea what happened, which is troubling …

Oh well, he doesn’t have another psychotic break in this episode and he also has a hot as all heck sex scene with Hayley (“FINALLY!” — me and the world), so everything’s coming up Elijah. At least when he’s not having the PTSD, you know?

Honestly, every scene at the safe house is a highlight of this episode, because in a way, even though they’re all working on plans, it feels like a time where they can all be. Yes, I cried when Hayley ran to Hope. Yes, I cried when Klaus pointed out that they would have to burn their perfect family selfie (also known as a selfie of who should be the gang) to protect Hope from enemies. Yes, I … well, I didn’t cry during that sex scene. But I kind of selfishly wished that the safe house could have been the entire episode. It was a good chunk, but it left me wanting more. The best things do.

Elijah: “Why is our family always at war?”

Avoiding the snarky answer of “That’s the whole point of the show,” it clearly all comes down to ideologies. They all now know about the firstborn thing because of Vincent / Finn, but they don’t necessarily believe it or see it as a threat compared to the Mommy Dearest of it all. They still see Finn as the dull brother (even though I will say, the casting of Yusuf Gatewood as Vincent / Finn was the greatest thing that could’ve happened to the character), even though, as he monologues to Cami, his entire “thing” is that he sees things in black and white. Good and evil. He thinks he’s the hero (and for that monologue alone, I am so excited for what will come of the character). Kol, on the other hand thinks he’s the victim, as the trio of Elijah, Klaus, and Rebekah never had time for him (though they always had time for Marcel). That’s what I really want to talk about this time around.

Kol is an absolute lunatic, but that’s not to say he doesn’t have a point when it comes to his family. Klaus himself is an egomaniacal dick driven by his emotions 95% of the time, and he’s our protagonist. Kol, however, has been shown time and time again to only have the one emotion of taking glee in utter destruction and chaos, especially when directed at his family. What the hell does he expect from them? He’s jealous of Marcel the way Enzo is jealous of Stefan over on The Vampire Diaries. He always identified more with the witch side of their family than his siblings. Again, he’s an absolute lunatic. So why should they even accept him ever again?

Because he’s their brother. So even though he’s betrayed the family yet again by trapping Rebekah in the body of an already trapped witch, he’s still going to have some redemption, it seems. If there’s one thing The Originals and the core of the Mikaelson family has taught us, that is enough of a reason to embrace him. Always and forever — that’s the motto and the curse. Cue the swelling score (which, between you and me, is honestly my favorite bit of score to come from the Vampy Verse). Just because the Big Three (Elijah, Klaus, and Rebekah) made it amongst themselves doesn’t mean they don’t consider it exclusive.

Except when it comes to Finn. Because Finn really is a dullard (sorry, Vincent / Finn), and that is the one constant of everything.

A few more things …

  • Perhaps because of his youth, Davina has never heard of the phrase “the devil you know,” which explains why she continues to go down this extremely dumb path of falling for and working with Kaleb / Kol. Sweetie, we’re all attracted to that face and that accent, but we’re not blind to how trustworthy the guy is.
  • Cami is pretty great this episode, first telling Marcel that he can’t control her, then being excited to hear the name “Camille” after not being possessed.
  • By the end of the episode Vincent / Finn escaped. He’d threatened to kill every vampire and whoever helped a vampire (including Cami). So that’s fun.

Photo Courtesy of The CW

About LaToya

Much like every other person she meets in Los Angeles, LaToya Ferguson is a mature adult who fancies herself a writer. When she's not writing for The Televixen, she's usually writing about Smallville, MS Painting over Pretty Little Liars screencaps, or encouraging others to call her "Gossip Fergs." Again, she is a mature adult. She's also a Twitter fanatic, and you can follow her at @lafergs.