In case you forgot just how impressive the acting is in episode seven of agatha all along, let me take you back again.
Lilia is five hundred years old. Four hundred and fifty? Maybe. When we first meet her, she may be kooky, and she may be strange, and forgetful, but she doesn't immediately seem vulnerable, or lost. She's a grown woman, damn it—and a fraud, a liar. She's toughened with the passage of time in her unique isolation.
And in the next episodes, we see her sweeten here and there—and we see more vulnerable moments—but she still stands on her own two legs. In her dynamic with Rio, for example, or whoever else, she exhibits the 'no bullshit' attitude of her maestra. She's softer, of course, more empathetic, less cynical—like in Alice's trial, where she's posed much like s comforting grandma. But even then, she is a grandma. She is the one who does the comforting, or the one who disapprovingly shakes her head at you and judges your life choices.
But when she talks to her Maestra?
Lilia is a little girl. She's childish.
In no other scenario does Lilia speak with herself center-stage. She always thinks of others first, even in her own trial.
But when she talks to her maestra, she acts like a wounded child, a wounded fawn, who can only focus on her own pain. Who has not yet developed mechanisms for processing her emotions—and who just wants—needs—her mother. And she speaks, and she says things she shouldn't say, floods her maestra with her own grief, overwhelms her with information that Lilia has known as fact for hundreds of years, but for her maestra—it's her first time hearing it. Because the little Lilia on the chair is having her first divination lesson. She hasn't predicted the fever yet. But Lilia can't think of that right now—she's overwhelmed, she's hurting, she's visiting her maternal figure after centuries—and so she's snappy and impatient and vulnerable like a child.
And her maestra knows she can't help it. And she knows that right now, she's needed by her child who is hurting. Who has been hurting—so much fear, even now. She must swallow the shocking piece of information that she and her covenmates, her sisters, her students, her children, will be wiped out by a terrible fever—treat it like a given fact, because she's not the focus right now. Because she needs to be a guiding light for Lilia, even centuries later, because she needs her. Centuries later, she needs her. And she's a tough woman, a no-bullshit woman. She's a thick-skinned, old, Sicilian witch, much reminiscent of my own greek grandparents—those who have lived through so much and so nothing affects them, really. Because 'back in their day' they had 'more serious issues,' like war and famine and plague. This woman lived through the dark ages. And she delivers. She's nonchalant. 'Death comes for us all' - It means, this isn't about me. I have to brush it off.
But I still have to wonder where within her she proceeded to bury that piece of information about her own coven's untimely demise. Not only to focus on future Lilia, but also, later, to keep little Lilia calm and focused. To—knowing all the suffering she'll be going through and the state in which she'll visit centuries later—keep her innocent for just a little time longer. Give her time. Until eventually, she predicts the fever herself.
And how beautiful is it that, after all this time, she sought help in her maestra—?
How beautiful is it that—for the second time—Agatha Harkness is saved by a woman whose empathy was bred by a mother's unconditional love? A woman who sacrificed herself just when she found herself, for no other reason than the fact her mother never stopped putting her first, so now, it was her turn to do the the same for her family—?