Helen & Max | deep end [+3x14]

IT HAPPENED! They got together omg?? I honestly wasn't expecting it, I think Suits hardened me hahaha and also because they didn't share any scenes until the end of the episode! But thank goodness, and I hope the writers do their story justice!
This was hell to make. It was kicking my ass anyway, then vegas started crashing before building peaks every time I would open it! But it's here, thankfully, and I so hope you all like it! It's not my best work but I just really wanted to vid them, especially when I listened to this song!!
colouring: glamourstar0x
#newamsterdam #sharpwin #fanvidfeed #viddingisart
/ swiftsrafferty

[@wlweloise7270]

"i do favour you... because i love my doctor" THAT WAS GENIUS OMG

[@wildxheart]

I'm so glad they finally happened!!! This is so gorgeous

[@gladyspayne3576]

Love it. It's sums up Max and Helen relationship. Perfectly. ❤

[@alyssamcpherson8866]

Oh I love them together. Please let it work out for them .. they are amazing together ❤️❤️

[@esjaymusings]

This is absolute perfection. I got teary! Thank you.

[@hannahbrooks4326]

I’ve watched a fair share of tv shows and sharpwin is probably my favorite tv couple by far. There just so perfect! ❤️❤️

[@martye.n2943]

Precisely!!!!

[@prettygorda]

ABSOLUTELY 🥺♥️ Sharpwin 🙌🏽🥰

[@holamissmusica]

Me too and they are, yes.

[@tunjareaves-johnson7319]

This is simply on another level. Thank you for posting it!

[@keranschexnayder-bohne5127]

I’ve just started watching this series. It’s great! It’s like watching ‘Rachel & Frank’ or ‘Fitz & Olivia’. And now we have ‘Max & Helen’. Love it! Terrific writing!

[@batcgray]

Omg🥰🥰🥰🥰 this video made me cry!!! This sums up their relationship Oh My God!!!! Sensational 😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍

[@EKL-vf9qj]

Wow....I held my breath watching this....its so perfect, the push and pull....well captured. My best ship on TV. Well done...😍

[@alea2823]

What a wonderful video. I am impressed, and look forward to more sharpewin post. I like that you include bits of the dialogue on the screen. I am subscribing today.

[@Jean-wk7on]

Well done! Thank you. You captured what is at the core of the Sharpwin anxiety: Fate (Destiny) vs Free Will, and the delicate balance between these two things in our lives. Fate brought Max and Helen together, but it is only free will that can keep them together. Helen uses her free will to speak to the Universe and ask for what she wants. She asked for Max's life to be spared and to keep him with her. Max is trying to hold onto his past and asking someone from his past for permission to have what he wants. The Universe conspired to give Luna to Max, but he has free will. He can choose to give that gift from the Universe to Georgia's parents, or he can choose to hold onto that gift, nurture it, and watch it grow into something more beautiful than he could ever have imagined. Helen was another gift from the Universe, but if he is speaking to someone from his past and asking whether or not that person wants him to have Helen, ultimately he will lose her. Helen never hesitates when Fate gives her an opportunity to give Max what he needs, whether it's a treatment that will save his life, the choice to refuse a marriage proposal, or an opened door late at night. If Max loses Helen it will be because he is allowing a symbol from his past to take up space in his life and have a voice in his future. That is clearly a destructive choice that will lead to loss and pain and regret, but it is an option and his choice to make. Fate can't save Max and Helen's relationship. Only free will can do that. Fate only puts opportunities in our path, nothing more. We are free agents.

[@Nmasengu]

Very well said! so true

[@renechateaubriand2645]

Janet: Max DID exercise his "free will." He removed The Ring that so imprisoned him and simultaneously offered him false sanctuary from Camus's and Beauvoir's choice as to whether or not to choose "être authentique." And by making that choice, exercising his "free will," Max made The Crossing--the transformational journey that Love Suprême requires, the carrying the weight of it, the choice, Sartre's "l'angoisse" perhaps, or just authenticity of living for the moment and meaning at its fullest, absolutely aware of the stakes, moral, emotional, and otherwise. In making his choice, in making The Crossing, Max has both taken command of and surrendered to his love for Helen, and he does so openly, not in spite of his myriad fears--the greatest of which surely is to lose or, worse still, never to know her love--but precisely because of them. In his decision, The Choice, and making The Crossing for Helen, surely Max does something far more than exercise his "free agency." He redeems in full Helen's great parry: her love for and faith in him. And that renders the former man-child, Max Goodwin, into something else altogether: noble.

[@Jean-wk7on]

@@renechateaubriand2645 I enjoyed reading your comments/responses, and fundamentally I agree with them. Yes, Max did indeed exercise his free will when he removed that ring and put it in his jacket pocket. The question is, WHAT WILL HE CHOOSE TO DO WITH THAT RING? Shortly after Max misplaced the ring, several important things were said during the conversation he had with Karen Brantley in the conference room. Their conversation affirms that a wedding ring is, indeed, a very powerful symbol. A wedding ring can be loaded with emotional content. Yes. We know that Max has made a choice, but we don't know if he will choose to free himself from his past. I have a question for you. When Max and Alice choose to be intimate with each other the first time, Max asks Alice if she thinks he should take his ring off. She says no, and they both keep their rings on. What if Alice had said yes, and he did take the ring off. Do you think he would never have worn that wedding ring again, or do you think it is more likely that he would have put the ring back on his finger after that sexual encounter? What about Alice? Remember when she and Max are sitting on the steps together, and they both admit that they are not quite comfortable with themselves and she says that at least they are both messed up. (Incidentally, Max was wise to step back from that relationship. Misery loves company.) Do you think that the source of the internal conflict that they are feeling could be their desire to keep a symbol that tethers them to their past? In my mind, even asking the question of whether or not someone (dead or alive) from your past would want you to be happy is problematic-and worrying about whether or not that person would understand your current circumstances (this is a reference to something Karen said in the conference room) is equally problematic. It's been quite a few years since I read Camus, Beauvoir, or Sartre, but I don't necessarily think that characters like Max and Helen would easily fit into the world as these three French philosophers envisioned and interpreted the human experience.

[@renechateaubriand2645]

​@@Jean-wk7on : Thank you so very much for your very kind appraisal of my post, and of course, I responded to yours because of the so obvious intelligence, formal philosophical grounding, and quite valid problematizing of aspects of Helen, and particularly, Max’s now surfacing love, as it were. Yet, I do diverge, to some extent, with you on the matter of “Free Will.” Let me elucidate why: in our exchanges, we both address the French Existentialists, for whom the notion of “Free Will,” though certainly not perceived by them as by the Héllènes or Enlightenment figures, certainly stands as the foundation of their “choix existential.” But as post-structuraliste Roland Barthes interjected--notably in his late 1950s takedown of the supposedly liberal “Family of Man” touring photographic exhibit -- the constructs of race, class, gender, national origin, colonialisms (internal and external) impact any person’s perception and range of Free Will, depending upon where he, she, “they,” and they (collective community) exist on any given hierarchy of domination and surveillance. Max, as a White, sis-gen, Ivy-trained male doctor, is at the top of such hierarchies. But I will expand Barthe's realm of variables to include the PSYCHOLOGICAL as yet another real variant impacting the ability of one to discern one’s own “Free Will,” let alone act upon it as if all things and all people were remotely “equal” in this world of constructed savage hierarchies, vagaries, and inflicted traumas. Thus, I will respond to what I think are your most pointed questions: 1. THE RING: Max has ALREADY chosen to remove his ring, and I have argued extensively elsewhere and on numerous podcasts that in exercising his “Free Will,” he has made THE existential choice as a Sartre, Beauvoir, or Camus would understand it: he has anguished over the choice (“angoisse de choix”), weighing the facts, his feelings, his love for Helen, and the realization that he has been, in fact, deeply in love with Helen ALL ALONG, in ways that he never was with Georgia--and that he was already deeply in love with Helen while Georgia was still alive. In removing The Ring, Max acts in perfect accordance with the Exististentialists’ model--weighing the evidence, suffering the weight and anguish of the choice, and taking a leap of faith on that choice. Max becomes “authentique” in running to Helen (The Crossing) PRECISELY because he is NOT denying his history or guilt, but rather BECAUSE he refuses to become the passive captive to his past life and its illusions. He CHOOSES to LIVE ("Engager") his deep love for Helen instead of retreating to the myth, falsehoods, and stasis of holding on to Georgia, to “propriety,” to “professionalism,” to distance and the safety of non-engagement. 2. RE: ALICE: In Max’s deferral of his decision to Alice, with whom he was never in love but rather In Need, Max cedes agency and thus lives his life through another, the classic IN-AUTHENTICITE Sartre so ruthlessly dissects in his classic play, Huis Clos. CRUCIALLY, Max might listen to the voices of Karen, certainly Floyd, his spirit brother, and absolutely Helen’s earlier words of encouragement (i.e., her approval of Max fighting for their “Us,” and that the most important things are those for which we “must fight”). BUT IT IS MAX, ALONE, IN HIS ALONENESS, confronting himself and the wages of his fears versus the authenticité of his love for Helen, who MAKES the essentially existential choice (disguised as the American “romantic gesture”), removing the ring and Making the Crossing for Helen--come what may. 3. RE: ALICE'S CHOICE: Neither Alice nor Max are in love but are in deep traumatic shock. It is absolutely human, a fundamental human need, perhaps, that they would reach out sexually to each other. But in this Brief Encounter, Alice is the more authentique of the two: she gives voice to HER reality, makes HER decision about The Ring; she concedes to Max’s deferral to her for HER purposes--which I believe confirmed in her mind that Max COULD NEVER become her more long-term partner. What strikes this viewer is the falseness of Max’s attachment to The Ring and all that it symbolizes: were he truly so deeply in love with Georgia the way he was and will always be vis-à-vis Helen, he WOULD NEVER HAVE CEDED his decision, his agency, his very authenticité to Alice --or ANYONE. Without Helen, Max would never have made ANY decision about The Ring. And this is the crucial point: he doesn’t cede his decision to Helen; he makes his choice because he wants Helen in every conceivable way a person in love will want, can only want, his, her, their Personne (NOT “objet”) de Désir 4. I find no evidence in either the episodes or any intuiting or semiotic reading, so to speak, of Max’s New Amsterdam life that he EVER “consulted” the memory of Georgia, the spectre of Georgia, even the objects associated with Georgia, in making both his Choice and his Crossing for Helen. Max makes his choice, anguishing over his own feelings for Helen, and I believe the textual, narrative arcs, and visual lexicons of the show ALL definitively suggest that Max’s primary fear about committing to Helen involve (a) fear of rejection by Helen (b) fear of the epic, ineffable scale of his love for Helen and (c) the guilt he sustains in knowing that he was already deeply, utterly in love with Helen WHILE Georgia was alive and well, as the pivotal first season episode, “King of Swords” so clearly articulates and concedes to Helen-and-Max “shippers” worldwide. Finally, I actually do read quite a bit Camus, the very problematic Sartre, and the criminally underrated Beauvoir, in French, very often. And I must say, respectfully, that I disagree with your notion about Helen and Max not “living” as these French existentialistes might demand. First and foremost, the aforementioned leading lights of “the movement” would have found it appalling and vulgar were Helen and Max to don black turtlenecks and hang about La Rive Gauche, flirting with Maoist and Leninist notions as did Sartre, or Me Too-ing on female graduate students as did Beauvoir, and/or seething in absolutely valid class resentment against the two aforementioned well-heeled Normalien fellow-grads, as pieds-noir Camus did. In short, the Existentialistes themselves did NOT live the lives of their books, and with the exception of Camus’ truly heroic and dangerous work for La Résistance during the Occupation, most of the supposedly Left-wing Existentialistes pursued banal lives of careerism that in my mind came far too damn close to accommodation with the Right-wing, genocidally racist pigs of Vichy and the Nazi imperium. That Helen chooses her high Afro-British style versus assimilation to American “standards”; that Max unleashes often hapless but heartfelt White Savior Crusades of the Month in relatively good faith (which, all, honestly, amount to his laugh-inducing, absurd attempts to find excuses to run to Helen, all in the guise of drawing upon her expertise, when in reality, he not only wants her expertise but also wants to moon over her, googly eyed, spewing his comical Freudian slips and SpongeBob Square Pants patois, basking poignantly and comically in her presence like a lovelorn derp crushing on The Distant Moon while he flounders in the Geek Squad of junior high school); that BOTH Helen and Max act upon and give voice and carnal embrace to their love for one another IN SPITE of their fears, THAT, I would argue is more “existentialiste” in spirit and reality than any of the career grubbing and sexual/textual harassment that the likes of Sartre and Beauvoir actually lived. My own view is that we ought to read the philosophes for their ideas and critically analyze them per empiricism or any other (relatively) proven epistemological approach. But no philosophe, at least modern philosophe, EVER lived by his, her, their philosophical framework. But that you seem to do so and wield the works with which you have so obviously engaged gives me both immense pleasure and hope: your intelligence is an act of elegant defiance, a Résistance, and one that I admire, deeply. And as the great Zadie Smith --Freema’s real-life model for her “Helen”--argues, all artistic creations, most certainly literary and cinematic ones, lead lives separate from what their “creators.” intended. I adhere to her theory. And so, as I so very much love Helen and Max, I am glad that they have in you so discerning, probing, and intelligent a “reader.” After all, Helen and Max deserve nothing less than those who care about them to help tell their story.

[@Jean-wk7on]

​@@renechateaubriand2645 Hello! This is quite an interesting analysis, on your part, of these three individuals (Max, Helen, and Alice) within their personal relationships with each other. (Incidentally, by way of an apology, I read and enjoyed your comments here a few days ago but immediately realized that a decent response would need to wait until the weekend when I have more time for anything other than work.) Regarding your point #4, I have a full disclosure to make. In my earlier comments, I deliberately chose to refer only to the conversation in the conference room between Karen and Max because, for the sake of brevity, I didn't want to be forced to mention that, in part, I was giving weight to what Ryan said when asked what Max was thinking when he removed the ring from his finger with intention that night. (See kzbin.info/www/bejne/rIvcmp6kjbigidU) Ryan's response was, "He is standing there and realizing, as difficult as it is, this person is gone, and his wife who loved him so much would want him to be happy, and it doesn't make sense to stay in this relationship that's gone . . ." I think a valid case can be made for the point of view that both Karen and Max believe even the dead can have agency in our lives, and what we believe they would or would not want should be taken into consideration. During their conversation, Max appears to gain some degree of comfort when Karen tells him that Georgia would understand that he accidentally somehow lost his wedding ring. Of course, all of this has to be juxtaposed with Max telling Karen that when he looks inside [of himself, presumably] Georgia isn't there anymore. Frankly, I don't believe-even for a split second-that Georgia wanted Max to do what makes him happy. That woman had a full-blown temper tantrum for months after she discovered that Max accepted the position of medical director at New Amsterdam Hospital. Max hates Connecticut. Surely, she must have known that, but she wanted him to spend his weekends there with her and her pampering, deceitful, vindictive parents. As far as I can tell, Max may indeed still be the captive of his marriage to Georgia. We simply don't know yet. We don't have enough evidence to draw a reasonable conclusion, one way or another. As far as we know, the ring is in Max's pocket. As long as he chooses to hold onto that ring, we can assume that he is holding onto his marriage to Georgia and the guilt that resulted from his emotional infidelity. THE RING You and I both know that ring isn't about Georgia (Floyd tells us that in his conversation with Max in the locker room). Max knows Georgia is dead and buried, and he doesn't appear to have any interest in exhuming her body. By now, I think we have all come to realize that THE RING has taken on a "life" of its own. The ring has come to symbolize their wedding vows, their years together, and his heart's illicit affair with Helen. Have you noticed that these are very efficient script writers? I'm going to tug on a different, seemingly unrelated thread in this tapestry that they are weaving, just to see where my curiosity leads me. Do you recall the scene in Helen's office with Mina, Helen, and Max? Mina asks Helen if Max is the guy she was dating. Max, in turn, seems to ramble on about him and Helen spending time together now and then, but that they have never dated. He follows that up by saying that "People talk, as they sometimes do." At that point, Helen abruptly stops him and he says, "Shut up, idiot. Sorry!" Typically, both Max and Helen are rather guarded with what they say about their relationship-whether they are alone or with anyone else. I'm guessing that Helen (and Max) knew that Hamlet's mother's words "The lady doth protest too much, methinks" were not lost on Mina. It's not that Helen and Max had ever dated. They hadn't. But Max's incessant rambling served to shine a light on their "hidden" relationship, which is quite the opposite of what he intended to do. As I see it, Max was choosing to continue to wear the ring to convince the outside world, Helen, and himself that he was a loving, faithful, and devoted husband to Georgia, which might explain why he makes a point of telling Helen how he felt about losing and then finding the ring. In private with Alice, who is also doing the same thing, that charade isn't necessary. So, when they want to have sex together that is precisely what they are going to do, with rings on. Somehow, I have the feeling that Beauvoir would have been dismissive of Helen, if not downright irritated by her putting Max's welfare and needs before her own. As for Sartre's "Other," I am not sure that he really believed that in his later years. I have always admired Albert Camus and his willingness to confront the critical social issues of his time, as well as the gaping holes in Existentialism. ALICE AND MAX'S RELATIONSHIP Max's relationship with Alice is what psychologists call a "rebound relationship." Google it. Rebound relationships are typically unhealthy and short-lived, and they exhibit a number of common characteristics that make them easy to identify. For example, the new relationship begins soon after a long-term relationship has ended, either as a result of a break-up or a death; the new relationship is built on a weak foundation (in this case, playdates for their kids); the individual doesn't want friends, family members, or colleagues to know about the new relationship, so he is secretive about it; the individual doesn't feel any emotional connection to the other person, so sex often becomes the binding force; because the relationship is built on a weak foundation it is fragile, so the individual will use anything unpleasant that happens in the relationship as a reason to escape from the relationship and end it. In the case of Max and Alice, the rebound relationship is two-sided, of course. Alice deliberately sought out the rebound relationship, possibly to avoid being alone while she continues to grieve for her recently deceased husband. Max is still grieving for Georgia and is unknowingly drawn into the rebound relationship, under the pretext of having a playmate for Luna. Max and Alice are both dissatisfied with the relationship because they are both still grieving for someone else. HELEN Rene, I was a bit surprised to read, "That Helen chooses her high Afro-British style versus assimilation to American “standards . . . ” That's like saying that Jazz or HipHop or Afros or the loose, natural hair look for women originated in the UK. Helen's braided hair styles were popularized in the U.S. more than 30 years ago. The sheer population density and demographics of black people in the U.S. almost invariably mean that those styles are far more likely to be born here, and then spread around the world. By the way, the braids and all of the styles she wears them in are dictated by the scripts, the costume designers, and the hair and makeup team for New Amsterdam because that's the look that many women here, including well-educated, professional women, have been choosing to wear for quite some time. A couple of years ago, the US military declared that all such hair styles are now accepted and within the military dress code. (Americans are notorious for being dismissive and defiant when it comes to rules and "accepted" standards. On this side of the pond, I don't think anyone was surprised that it didn't take long for Meghan Markle to pack Harry and her bags and leave the UK.) When you see pictures of Freema prior to season one, she has an entirely different look. When she appears in interviews these days, her hair is sometimes straight or unbraided and wavy. I am guessing that she wears whatever hairstyle the role calls for or that fits her lifestyle at any given time. I WHOLEHEARTEDLY AGREE "My own view is that we ought to read the philosophes for their ideas and critically analyze them per empiricism or any other (relatively) proven epistemological approach. But no philosophe, at least modern philosophe, EVER lived by his, her, their philosophical framework." Yes, it is indeed a truism that one should not confuse an artistic creation with its creator. We would not have expected Voltaire, for example, to have lived the life of Candide. What a waste that would have been. I don't know how many times over the years Voltaire's character's famous last words have rung loud and clear in my head, and I have Voltaire's utter rage to thank for that.

[@nomi2753]

Great job!! Keep it coming! Can’t get enough of Sharpwin until season 4! Thanks

[@batcgray]

I know!!!! This is really good!!!

[@enu1978]

Oh my goodness… this is so beautiful the #DamFam family are so creative… I’m sorry this is one of best Sharpwin videos I’ve ever seen. ♥️😘😘♥️♥️

[@abbysm2134]

beautiful video!!! suits definitely scarred me too lol but im so happy they got together!!! :)

[@batistabatista2443]

beautiful video congratulations! thanks for the post !

[@vick2012ish]

This was really good!

[@trinitym9743]

DAYUM!!! Good job!

[@giogabrillo]

Watched season 1 with my wife i immediately saw their chemistry! My wife told me "he's married and she has a bf" several seasons later and look at em😁

[@angelabiggs9132]

OMG!!😍😍😍 Amazing, i feel so emotional

[@ryanjameseggold9512]

I presume you're a fan of this show?

[@cherrisecole7330]

This was a beautiful video great job

[@artvelours2600]

I pray the producers actually listen to the fans and don’t break them up or remove either one of them from the cast

[@vanshika5642]

Last moment🫰 amazing edit

[@TvMovieSparks88]

I love this

[@thewayiamxx0]

Love this! Great work!

[@carlasorayabastosbraga5144]

5 temporada sem Helen deixou de ser o que era

[@london11314]

So good!

[@zenirodriguesvides1469]

Sempreeee...curtindo 😘😘😘

[@zenirodriguesvides1469]

Showww...milllll...👏👏👏👏

[@dixiematias3130]

Omg i cant wait until its back on

[@monayadav6145]

Beautiful ❤️

[@veronicag.6205]

I luuuuuuuuvvvv it! This is so perfect!

[@zenirodriguesvides1469]

Quantas emoções...❤️

[@melissajohn3260]

It's about time.....I love it

[@meadow9220]

So good!!

[@zenirodriguesvides1469]

Mimossss...👏👏👏

[@darcelldowdell648]

Song is DEEP END by BIRDY

[@fatimafaja6156]

Adoro essa série♥️😘♥️

[@alwayssincere6427]

Love this !! !Well done !! Now need cigarette and I dont even smoke. !!!!!! Lol

[@HopeVenetta]

perfection

[@terriyoung8333]

I thought I had words....🥰🥰🥰🥰🥰🥰

[@redeemed5906]

😄😄😄 " there are no words"

[@maribellasur]

❤

[@Ptvermoes]

Very nice made!! What software do you use to make this kind of compilations?

[@MarcGabriel_judoka]

Niceeee

[@zenirodriguesvides1469]

Poooooooo...millllllll...👏👏👏

[@gmorelli]

💜

[@zenirodriguesvides1469]

Emoções milllll,.😘😘

[@wlweloise7270]

suits has scared me so (so so so) much. i honestly thought all their build up from this season would go to waste (like darvey in season 7) and they wouldn't get together for another few seasons.

[@mimimimia7140]

Myyy goodness

[@awesomely1368]

❤️❤️❤️

[@darcelldowdell648]

What’s the name of the song playing it’s beautiful

[@martye.n2943]

Deep end by Birdy

[@martaventura3050]

São lindos demais juntos.

[@zenirodriguesvides1469]

Pooooo...👏👏

[@zenirodriguesvides1469]

Que mimoooo...

[@giselame51]

Dissapointed the relationship did not survived!

[@milenihernandez4729]

Amoooo

[@vickiiepalmer659]

When is season 4 out in the UK? Do you think they fall in love when his wife was alive?

[@zenirodriguesvides1469]

Show...millll...