Signs Are Small Measurable Things, But Interpretations Are Illimitable

In "Signs Are Small Measurable Things, But Interpretations Are Illimitable," the second episode of Anne With an E Season 2, director Paul Fox delves deeply into the themes of perception and personal growth, as Anne and the residents of Avonlea face a series of misunderstandings, biases, and budding introspection. The episode centers on Anne's unyielding curiosity and her quest for greater knowledge and meaning, highlighted by her fascination with astrology and the mysterious signs she perceives in her surroundings. Meanwhile, Gilbert's return to Avonlea after a life-altering journey abroad brings new complexities and perspectives, especially as he navigates grief and unexpected friendships, particularly his bond with Bash, a young man of African descent who also becomes part of the Avonlea community. This exploration of cultural and personal differences injects the episode with social commentary and an acknowledgment of diversity.

Amybeth McNulty continues to excel as Anne, bringing vibrancy and depth to her character's emotional world. Her portrayal captures Anne's unrestrained idealism, her keen intellect, and the occasional frustrations that come with being an unconventional girl in a conservative town. Fox allows McNulty space to explore Anne's complexity, especially in her introspective moments and in scenes where she contemplates the world beyond Avonlea. Meanwhile, Dalmar Abuzeid as Bash provides a fresh dynamic, adding layers to the narrative as he introduces Avonlea's residents to new ideas and perspectives. His chemistry with Lucas Jade Zumann as Gilbert is natural and nuanced, showing the deep bond that has formed between the two men despite their disparate backgrounds. These performances bring energy and authenticity, enriching the relationships within the series.

Fox's direction is thoughtful and deliberate, emphasizing small gestures and glances that reveal the underlying tensions and emotions in each character. His approach to the framing of scenes-particularly those involving Bash's interactions with the townspeople-illustrates the silent but palpable tension that can arise from prejudice and curiosity. The pacing of the episode is steady, allowing each subplot to develop at its own rhythm while giving the narrative enough room to breathe. Fox captures the discomfort and unfamiliarity that new ideas bring to a traditional setting, particularly in scenes where Bash faces judgment and skepticism. This directorial choice emphasizes the struggle of integration and adaptation, a theme that resonates strongly in this episode.

The episode's script by Moira Walley-Beckett is layered and incisive, blending Anne's whimsical charm with Gilbert's more grounded perspective, while exploring the ways in which personal histories shape worldviews. The dialogues between Anne and Marilla reveal a growing mutual understanding and respect, even as they occasionally clash over Anne's fascination with the mystical and unknown. The contrast between Anne's openness to new ideas and the community's wariness highlights a central conflict in the series: the balance between tradition and progress. Although the episode occasionally leans into predictability-particularly in the reactions of some townspeople-the exploration of prejudice, acceptance, and friendship is handled with sensitivity and purpose. These themes encourage viewers to reflect on the limits of perception and the capacity for growth within any community.

The technical aspects, including cinematography and editing, bolster the episode's thematic focus. The lighting and color palette fluctuate between warm, natural tones in the Avonlea scenes and more shadowed hues during moments of introspection or cultural clash, echoing the episode's emotional dichotomy. The editing is careful and fluid, seamlessly interweaving Anne's journey of discovery with Gilbert's and Bash's stories of adaptation and resilience. Notably, the scene in which Bash first meets the Avonlea townsfolk is marked by close-up shots that capture their guarded expressions, underscoring the skepticism and curiosity with which he is met. This visual storytelling enhances the episode's exploration of perception, illustrating how Avonlea's seemingly tranquil exterior masks the complexities of acceptance and integration.

In conclusion, "Signs Are Small Measurable Things, But Interpretations Are Illimitable" is a compelling exploration of cultural and social boundaries in a world governed by small-town norms. With stellar performances, particularly from McNulty, Zumann, and Abuzeid, and skillful direction by Paul Fox, the episode manages to be both heartwarming and thought-provoking. The thematic depth is woven throughout the narrative, urging viewers to question their own perceptions and biases. Although some plot elements are predictable, the episode succeeds in creating a reflective and layered story that resonates well with the series' broader messages of inclusion and growth. This episode marks a pivotal moment in Anne With an E, as it moves beyond Anne's personal journey to address the broader societal challenges facing Avonlea and, by extension, the audience.

If you don't care to tell the story of Anne of Green Gables then why tie your horse to that hitching post. So everything in this story is made up. As in not in the book. But then they twist things for the period. Trinidad got rid of slavery 50 years prior to Bash and Gilbert walking around for some reason the guy with the horse assume Bash is the first slave in decades to show up. But really he only called him boy not slave. So really why did they not assume he was talking to Gilbert who was the one actually messing around with the horse? Forced perspective is bad writing.

And then they visit mom who says you can't visit. And the admit slavery ended 50 year prior but they don't speak to why he can't visit his free mother.

So yeah, they went from a story written in the period to a modern story dressed up in old clothing.