#Analyzing Scripts

[tmarshconnors]

Graphology: The Study of Handwriting

Graphology, the study of handwriting, offers intriguing insights into personality and behavior. I find it fascinating how the way we write can reveal aspects of our character—our emotions, motivations, and even how we interact with the world.

Graphologists analyze various elements of handwriting, including size, slant, pressure, and spacing, to interpret individual traits. While some consider it a pseudoscience, the connection between our writing style and psychological characteristics is an engaging area of exploration.

Understanding graphology can enhance our self-awareness and improve communication. It offers a unique lens through which we can examine ourselves and others, providing insights into human nature that may otherwise remain hidden.

[sunny-knight]

KINGERS GAMBIT - CHAPTER 1

“Why couldn’t we just play in the tent-“

(Work In Progress and Behind The Scenes stuff in my Shitpost account!)

[youregonnabeokay-kid]

SO. i was able to figure out the general structure of the script JLH leaked.

[explanation under the cut]

in order for all this to make sense, the first thing you need to know is that in north america all screenplays (scripts) are written in the same format

knowing this, we can deduce the general structure of the scene and even the length of some of the words

first we need to address the big question everyone's been asking:

are they talking about Bobby or Eddie?

screenplays are always typed in courier font, and in courier the capital letters B and E are identical at their left sides.

so while i enjoy people trying to figure out if the blurry letter in line 24 is a B or an E, the answer is it could honestly be either

where we really need to look is line one. the screengrab is blurry so i've outlined the word "going" and circled the area we should pay attention to

at first, the last letter of the prior word looks like an undistinguishable blob, but there is actually one key thing we can discern from it: the letter can't be y, it doesn't hang low enough

there is a chance that the word is not a name and is "he" which would not rule out Bobby or Eddie. however, that would mean the conversation goes on for at least 14 lines without mentioning "him" by name which is (heavily) frowned against in screenwriting. so chances are they're talking about Eddie

also, with what we know about the characters it's most likely Eddie. can you really see Bobby not talking to Buck because of... well, anything? and we already know that Eddie has a difficult time communicating. so i've decided to go with him for this script but haven't 100 per cent ruled Bobby out

moving on to the actual script itself, anything not highlighted in red is something i'm confident is either the exact wording or something similar. the red sections are the parts that i'm less confident in or know are incorrect somehow

Maddie's first dialogue block is the part i had the most trouble with. with context from the following conversation i figured that she probably asked something along the lines of when [Eddie] will be back at work. the main issue with this section is that the top line is actually six letters shorter than what i have written. this also means that the word that follows "going" has to be at least eight letters long. i tried messing around with the dialogue a bit but couldn't come up with something that would fit the appropriate letter count so for now i just wrote a line similar to what i think the actual line probably is

line six has to be either 12 or 13 spaces long and the first word has to be at least four letters long so i used "really soon" as a place holder, but i'm not completely confident in it

for line eight i initially had "Oh, that's good." but the line was one space short so i changed the "Oh" to "Hey" instead. i don't feel too poorly about this one but it still doesn't feel right to me. if the actual script says "Hey" i wouldn't be surprised if JLH changes it to something else or forgoes the exclamation completely

the final line is just a rough guess of what it could be. i'm not sure how formal the 911 writers are with action lines so i just took a random guess. some writers are extremely formal with action lines while others are more comedic with it (Neil Gaiman is a great example of this). i'm guessing the 911 writers are more the former but i honestly have no clue

[transpat]

realizing that the lilac betting convo was them having three different conversations at once.

yoon jiwon who's been unsettled the whole week bc of seok jiwon's reappearance was now just totally and utterly humiliated bc seok jiwon witnessed her rejection and breakdown (actually going to talk about that in a separate post). if it isn't entirely obv btw the reason she was crying is actually seok jiwon.

(her whole line is 'i'm crying because these days...')

and then,

'To laugh at me?' obv seok jiwon hasn't even thought of that and probably can't add 2 and 2 together. but to yoon jiwon who was an over achiever in high school, always better than seok jiwon the only person she cared about being better than, and is then dumped wordlessly and cruelly by him, her current living situation compared to his are. embarrassing. she normally doesn't care being not that well off financially but again, this is seok jiwon. everything matters when it comes to him.

anyway, her saying 'he's ruining everything her grandfather worked for' is the only valid excuse she has to shit on this man now. there's so many things she wants to complain about, to scream at him about, but he just abandoned her, left without a word, never picked up a single one of her hundred calls and admitting she's anxious bc he came back would only further add to her humiliation.

insisting the lilacs won't bloom again is like saying, 'anything u touch will be doomed'.

seok jiwon on the other hand, is talking about their romance.

unlike yoon jiwon who's had zero contact w this guy for years and thus believes it'd be both mortifying and insane to still harbor feelings for the dude, hence her vehement denial in the consecutive eps, seok jiwon's seen her at her most miserable and vulnerable. it's why he's never been able to move on no matter how painful this is for him, why he's never been able to love any one else even thou yoon jiwon no longer wants him. in fact, him refusing to come back was precisely bc he knew his presence would only upset her, esp involved in a project that is already destroying her grandfather.

it's only when he's told she possibly forgot about him, that he abandons all reason and runs back. and to his relief—initially—she has not forgotten about him at all. no, rather he's come back to hear her say all of this instead.

(he never said he hated her.)

the lilac is barren, the lilac hasn't bloomed in years, the lilac is probably dead—there are no feelings between us, it's been way too many years, after everything that happened there's no way we'd ever fall in love again. that's what he's hearing.

this is also the girl who dumped him over a tiny little fight and refused to ever see him again no matter how many times he tried to reach out to her. this is also the girl he's still in love w. and he just heard her admit to liking someone else and then spit at the idea of them being together.

his words: 'it's not withered or dead', he still has feelings for her and since she feels so strongly about him, he's dying to know if there truly isn't any love in her opinion; 'this is the 5th year not the 40th', even if it's been almost two decades, it wasn't enough for him to forget about her, after what she did to him, was it that easy for her to move on or did she ever think about him, did she ever regret.

insisting the lilacs will bloom, is him trying to convince himself she still loves or still can love him.

and so the bet conditions:

she wants him gone from her life so she can stop feeling so pathetic and embarrassed about herself and her situation and her somehow persisting feelings for him. she loved him for so, so many years, that even if she's in denial now and thinks she isn't in love with him, seok jiwon's long become a part of her self. and she's convinced the only way she can evict him from her heart, is to evict him from her town first.

he wants to know, once and for all, if yoon jiwon truly truly hates him and will never hold an ounce of emotion towards him again. he needs to see for himself if yoon jiwon doesn't regret their breakup at all, if she's never thought of him in all those 18 years, if she really doesn't love him for all. it's the only way he'll be able to move on.

tldr; the lilacs convo was yoon jiwon's metaphoric way of saying seok jiwon ruins everything (she talks about her grandfather but means her heart) and seok jiwon's way of saying a love as deep as there's was can't die no matter how many years have passed and will bloom again, and the rest of the room only now realizing how fucking insane these both are.

p.s. maeng sua spends a lot of time joking about how jiwon must be confusing her feelings of affection for him as hatred and how hate and love are two sides of the same coin and blah blah blah, but it's only now that she realizes her jokes were on point and she looks scandalized.

she's seen yoon jiwon screaming and kicking at the man but this is what made her jaw drop.

and this is where she realizes that yoon jiwon becoming animated and childish and talkative and lively over the past week was bc she'd finally met someone who matched her freak.

she's the only one excited about the bet lol. funnily, she also stops joking about seok jiwon being her type after this and once she snuffs out gong minsu's feelings for yoon jiwon, she turns her flirty jokes on him instead.

[loverofsoups]

“Would you admit it, you care about me. I saw you smile when I showed up for work this morning.”

“I didn’t smile. I was thinking of a funny joke.”

[kat-rose-griffith]

Ridiculous to me that they didn’t give Luke more lines and more of his own individual defined storyline for Colin in season 3, especially when he delivered so hard any time they did give him some and still delivered so incredibly hard even when they didn’t

[appleciders]

BAD SISTERS: opening shots + script introductions

[fantasticalleigh]

annotating every little thing my blorbos do for this insane and incredibly overly-detailed timeline.

[botwstoriesandsuch]

Totk story is super unrealistic so far. You’re telling me I’m in a new age of restoration in the kingdom of Hyrule with a boom in linguistic, historical, and scientific studies, which all also coincides with the biggest development in physical evidence for an ancient civilization that we previously had little to no knowledge about And Your’re Telling Me Zelda DOESNT want me to just hang around to record an analyze everything in my little notebook?? In What World? Give me the radiometric dating attachment for the Purah Pad and let me date those Imprisoning War murals already

[shallowseeker]

Sam is dissociating.

Sam thesis: The man who fears grief the most.

Script “Absence,” via @spnscripthunt

[mako-neexu]

IM WRONG BTW I JUST REMEMBERED DANTES HELD GUDA'S HAND IN HIS SECOND INTERLUDE IT WAS JUST A BLINK AND YOULL MISS IT KIND OF THING SO YOURE NOT THE FIRST ONE TAIKOUBOUUU

[compacflt]

do you ever think about/write about how maverick threw goose’s dog tags into the ocean? the letterboxd reviews have me thinking again.

yeah that was literally one of the first little things august 2022 me petulantly retconned . fuck that . he kept one.

in my (and many other ppls) opinion those weren’t mavs to throw away they should’ve stayed with carole

and (i try not to talk about this as much as possible but) it suggests Something about mav & goose’s relationship that the filmmakers thought his dog tags should go to mav instead of to Goose’s wife (though i acknowledge and appreciate the usefulness of the visual metaphor of him saying goodbye to goose at the end of TG) (though that visual metaphor was rendered completely moot by the whole of TGM showing that mav HASNT moved on from goose and only moves on once he has the chance to save roosters life [which is why i retconned it])

ALSO? i am sure I’m not the first person to talk about this? But, to add a second layer of confusion & analysis, uh, the dogtags mav throws into the ocean aren’t goose’s.

I’m reading “metcalf, mike” from the backside. Those are VIPER’s dogtags. for some reason.

now i choose to believe that’s a props issue… someone grabbed the wrong set of tags & they were like ehhh no one will notice… script supervisor not doing their fucking job… so i choose to believe the filmmakers MEANT goose’s dogtags & it doesn’t change the end of the movie for me.

But im interested to hear from you—does that change/add anything to anyone’s analysis to know that mav threw VIPER’s tags into the ocean? there are a lot of really weird implications that come from taking what is probably a props fuck-up at face value!!! (Viper giving mav his tags [weird], viper being mav’s surrogate dad figure, thereby this scene becomes about mav saying goodbye to his FATHER finally,.. etc.)

[hatchetmode]

Now that the bonus episode and postcard are out of the bag that means I can also share the alt thumbnails that I pitched!! It was such a delight to get to work on such a cool project 💜💜

[amaryllisblackthorn]

spoilers for professor layton and the last specter

one day i'll finally write that ~analysis about how layton treats children esp in pl4 and esp in comparison to emmy that's been in my head for literal y e a r s at this point

i'm going to actually leave some of my scattered thoughts abt it here finally. note that this is all based on the US localization.

for lack of better words, layton treats children with respect and seriously. like of course he's mindful that they're children but he takes what they say and feel with seriousness. vs emmy who's often patronizing, demeaning, or impatient (for lack of better words).

this is prob most apparent with Luke in pl4, though not limited to him.

when first told about the door puzzle, emmy goes 'aw thats so cute let's do it'. like indulging a little kid. which luke is, but i digress. EDIT: briefly checked out the jpn text in the scene and it doesn't seem like Emmy calls it cute, and her tone isn't doing it either. seems like she's just like, 'Professor, let's do it!' which is interestinf

there's a point where Luke is freaking out about the specter and the power it has and how it's corrupted his father. emmy's like 'you cant seriously believe theres actually a specter!' but Layton says to Luke 'I believe the specter has the power you say it has'. Layton doesnt believe there's an actual monster re: the specter, but he believes there is something re: the specter, and that's the important thing. and Layton furthermore immediately goes on to say he's noticed something's up with Clark, himself. Layton is listening to Luke and taking his feelings and fears seriously and is validating him -- and this is so incredibly significant bc of Luke's whole feeling like he's unable to trust anyone during the game which is incredibly related to this but a bit separate so im trying not to digress. THE POINT. is. the difference between Layton and Emmy in this regard.

i dont remember if it's the same part -- i think it might be later but maybe not -- i think it's when Luke reveals how he can tell where the specter will appear next? -- but basically Emmy's kind of upset for lack of a better word that Luke had been withholding that info and is like 'are you hiding anything else, like what the specter has for breakfast?!' or something iirc. luke mind of apologetically defends himself with 'i didnt know if i could trust you' and Layton is totally understanding

EDIT: (i removed an example bc upon further reflection it wasnt necessarily relevant. i might readd it later)

then there's the part with Jakes' son near the end iirc

also the small part nearer the beginning iirc when Luke goes chasing after the cat and Emmy&Layton are chasing after him and Emmy complains to the professor 'he's acting like a child!' and layton's like 'heh well he is a child c; '

there's also how Layton treats/interacts with the Ravens

also when first meeting Luke and Luke's opening up slightly but then Clark comes in and starts scolding him which has Luke withdraw/angry/turn away and Layton's like, "Clark, please"

there's also the cutscene when they first see the specter, where before it appears. Layton asks Luke, 'well, luke, what do you think? do you see anything?', he says no nothing, and Emmy's like 'I still have a hard time believing this. it sounds like a scary bedtime story. is this even possible?'. Layton says, 'Well, we'll soon find out.' and then Emmy goes on to say 'and a poor boy who predicts where the giant specter will appear' and Luke's unhappy about her comment

ALSO when Layton tries to go after the Specter that scene and Luke grabs onto him and tells him not to go, Layton takes the time to talk to him. same for when Luke's freaking out when the police took Arianna away. Layton puts a hand on his shoulder, gets to his level, and talks to him seriously.

this isn't bashing on Emmy btw I actually enjoy this as part of her character and it makes sense to me the difference between her and Layton in this regard. im also not saying that shes like always like this with kids either. or that it's even kid specific. I genuinely think it's neat. I also think it's a super neat part of Layton's character.

also ive really got to either play through pl4 again myself or watch a playthrough to record all the specific instances again.

also Layton taking Luke's feelings and fears seriously and Luke coming to trust Layton at this time of his life means the world to me

[bearenjoyers]

sorry im just thinking about bcs but like. why not add a few smaller scenes of gus interacting with his own men? why does it seem like, in comparison, mike is almost immediately elevated to a higher status than those two in bcs purely because we actually get to see him having normal conversations with gus? like i understand they might not keep the plot moving as well because of the fact obviously if victor is currently doing something it’s because gus told him to etc. but for the most part all of the smaller interactions gus does have with those two ends up being in a somewhat high stress situation where it feels very tense between everyone. and it’s just like damn! is it always like that?? why do those two even care that much about their jobs if their boss is a bit of a dick? etc. i think even an additional scene or two with those guys (either alone or the both of them) talking with gus in a more normal situation could’ve both added a bit more depth into how gus treats his employees (we got a lot with how he treats lyle and co., but not a whole lot with the illegal side of things), how comfortable vic and tyrus feel around him in a calmer setting, and exactly why they both feel the need to be as loyal as they are to the guy.

and also on the other side of this i don't think it'd hurt to maybe elaborate on their pay just a bit..? i'm not saying to randomly put a number out into the atmosphere but i just mean some smaller things like. do they buy nicer things for themselves? what's their housing situation? what's their car situation? are the escalade / yukon their own vehicles or does gus just use those two for business situations? do they use them when they're doing their own stuff off the clock or do they have their own cars? etc. that can also help with understanding their motivations a bit. don't get me wrong i don't think they should be visibly rich or something because that's not what gus would want but just smaller things! cause it's easy to write their loyalty off as Well they probably get paid super well, which i'm sure is true, but if they don't show a single hint of that then what's the point. even something as simple as giving tyrus a nice watch, or maybe victor having a nicer looking gun, etc. something small like that. because as it stands right now the average 41 year old viewer who watched the show once only knows and will only ever know victor and tyrus as those two guys in the background who do random stuff for gus with no clear motivation. just the personification of "On it boss (salute emoji)". and to be honest this is true for a whole lot of fans who do watch the show multiple times and enjoy thinking about it more in depth, because on screen we barely have anything about the two.

and to be clear i'm not trying to say we should have an episode just for them or something like no i understand they're side characters. i understand we don't need all that. and i understand this is also primarily Jimmy's show. but it's not like these two are on the same level as like, arlo or paige and kevin etc. these guys have been around since brba. victor was literally introduced in the same episode gus was. and they are a huge part of gus's story, especially in brba. s4 wouldn't have been what it was without victor and tyrus. and in bcs, ignacio's situation wouldn't have been the same if it weren't for victor and tyrus as well. and i just personally believe that if their goal with gus in bcs was to go back and elaborate on how everything came to be and show what he was like a few years younger, they could've dragged victor and tyrus into that. and i think his character would've benefited from taking that extra step with those two.

[eskawrites]

i’m still thinking about the implications of ‘i got you’ vs ‘you’ve got this’ in the creel house and how it’s so small a change and at the end of the day both lines mostly represent the same thing but also there’s a world of difference between the two and it scratches my brain in such a satisfying way

like, “you’ve got this” brings robin and nancy full circle in a way. robin’s clumsiness/awkwardness is something we hear about all season long, and she definitely reveals her own insecurities alongside that. i mean, their relationship has a rocky start partially because of being awkward, clumsy with social cues, not quite steady beside nancy. when they open the door to the creel house it’s like robin is facing down the insecurities that have been brought up all season long. in a physical way obviously with her not being super coordinated, but also in a metaphorical way with her not just letting her insecurities show to nancy but actively reaching to nancy for help. and nancy steadying her, assuring her, saying “you’ve got this” shows how their friendship has grown in the past few days. she sees robin’s insecurities, acknowledges them, and believes in her despite them. it’s a small moment in the context of the season but it’s seriously a great resolution for their arc

but “i got you” turns it on its head. it’s less about robin and more about nancy. there’s still that reassurance there, there’s still the fact that nancy is acknowledging robin’s fears and steadying her so that she can move forward. but i got you is less about believing in robin (although she clearly still does) and more about nancy believing in herself. it feels like a resolution for the unacknowledged part of robin and nancy’s friendship: nancy’s history with barb. i feel like this is a subtle yet still very effective way of acknowledging the walls that nancy has built, the relationships she’s cut herself off from through the years. by saying “i got you,” nancy is telling both robin and herself that she is here, she will protect her, she can help the people she loves. it feels like forgiveness, in a way. it definitely falls in line with the idea that robin’s friendship is healing for nancy in the wake of losing barb. and it still resolves robin and nancy’s arc for the season by having nancy be the one to reach out and support robin the way that robin has been supporting her

ultimately i do think that “you’ve got this” was the best choice for the scene, although i love the romantic undertones that “i got you” has. but mostly i love thinking about the thought process behind both of them. i love that “you’ve got this” could’ve been an ad lib or even just a happy mistake on the day of filming. i love that they both options feel so natural and speak to the volume and depth between robin and nancy and how their relationship has blossomed in just a few of days. i just really really love them you guys