#but they feel more significant because they are in the script

[higuchisora]

They said the scripts were "locked in" for season 2 by the release of season 1 and it was just the animation they were working on, but I don't think that necessarily means they didn't make a SINGLE change. I think it might mean they had the general broad strokes of it, though, so even though I can totally see this happening, I don't know how much of it really was just them not thinking shit through ahead of time.

Like I wouldn't be surprised if they really only had the skeleton of a script "locked in" and the rest of it had significant changes, but I think that would make sense - Ambessa feels like she wasn't even supposed to BE in half the scenes she was in because she contributed literally nothing to them. I could imagine a situation in which Ambessa was initially supposed to have a much smaller role, maybe only becoming important towards the VERY end, like final episode or something where it reveals some type of scheme she had/sets up possible future stories etc., and that Caitlyn being "mentored" could've come from someone else. A lot of the lines weren't necessarily relevant to location, so the dialogue could've been tweaked and initially come from another character - maybe one of those "conversations with a ghost" with her mother or something, like an argument with the different sides of herself or whatever.

Either way, there are plenty of moments like this that feel like they were out of place or redistributed or rushed in such a way that I doubt they made ZERO changes (and also because it's Hollywood, last minute changes are NOT new).

Same for Mel; her plot was so irrelevant I wouldn't be surprised if they just added it at the last minute. Especially because she hardly said anything, particularly during confrontations.

To that end, them ignoring Jinx's mental illness feels like one of those cutting corners situations. Something along the lines of, "Well they already know she's mentally ill, there's no need to keep showing it" which we know is DUMB AF but to corporate minds is perfectly logical. It felt like they waffled between making the story "shocking" and keeping the characters likeable (which they failed to do with a lot of them, so...)

Hence why Caitlyn never has to answer for her actions. And why Vi seems like she's been lobotomized and is strictly relegated to the "love interest" role, despite being arguably more of a main character in s1 than Caitlyn (as I was under the impression that this show was about the sisters, not their romantic interests). And why Jinx's only personality traits are semi-sarcastic and suicidal. And why her and Vi's differences seem to solely boil down to "I don't like your girlfriend" (which in s2 is pretty valid for Jinx's part, spoken as a former caitvi shipper, but still takes away from the real weight of their conflict). And why Ekko was exiled for 3 whole episodes on a Spiderverse subplot.

Unfortunately, we'll never really know what the truth is, or what the "original" script would've looked like (and if it was really all that different from now). But what I wouldn't have given to be in that room with a squeaky toy hammer so I could bonk Netflix/Riot every time they suggested some stupid shit....

Something that has really bugged me about season two is Jinx's hallucinations and PTSD. It magically disappears when Silco dies, save for two scenes. I remember when people on reddit were literally making jokes about the writers going this route because it would be so stupid.

One of the things I loved about season one was the realistic depictions of mental illness that you just don't see often in media. I don't know what it is like to experience schizophrenia, but I have experienced PTSD and paranoia, and seeing how it was represented in Arcane was actually one of the things that helped me through it.

And then season 2 comes around and they just completely neglect this side of Jinx.

PTSD isn't a switch that can magically be flipped off. Recovery is a slow and gradual process. In absolutely no world would Jinx killing yet another family member cure her of her conditions, it would make them 10 times worse. Not to mention just before killing him she has an extremely severe psychotic episode, which would only make forgetting her trauma even more difficult since it was just brought up fresh in her mind.

And what even about the end of s1 was it that healed her? I genuinely have no idea, because she finally chooses Jinx only to once again go back and forth between Jinx and Powder in season two, because apparently all that buildup for her final decision was for nothing.

She does experience two hallucinations (I'm not going to count the jail silco thing in act three because what even was that?) when she sees enforcer Vi and when Sevika talks about the attack at Vander's statue, but suddenly that is all that triggers her?

In season one, just seeing Vi, or even someone who looks like Vi triggers her. But now when Vi is literally trying to capture and possibly kill her she is fine, it's only the mask that bothers her? Wasn't that her worst fear, that Silco and Sevika were right, that Vi only wanted to stop her? And she is constantly triggered by Cait in season 1 but not 2?

And then there was the insulting ending, where jail Silco tells Jinx to 'break the cycle' (something he would absolutely never do) and Jinx finally finds redemption by literally killing herself after Isha kills herself in what is framed as an act of heroism (and if Jinx actually didnt, than what even was the point of that scene?) What happened to Ekko trying to stop Jinx from doing that? What happened to Silco having Singed revive her to save her life after she attempts to take it? Or Jayce and Viktor talking each other out of it? Or Silco choosing to keep fighting rather than give into the "peace in water"?

On purpose or not season 2 frames suicide as a glorious, edgy, perhaps even necessary thing and it's disgusting.

[lawofangie]

I need some advice

Our 3D is just a reflection of our assumption and I have proven it to myself and have seen few evidence of it too like I yesterday manifested brownies

But I couldn't manifest being in void from past 3 months almost and this is frustrating me a lot now I don't know why but I am like yeah I will be in void but whenever I assume that I am going to get in it on this day or like that I just couldn't belive myself that it is happening or will happen and I just need some genuine advice

I ha,ve manifested shit even after reacting to 3D in 4 days but this is getting on my nerves and I need some advice

By The way read your story and it is inspiring and the things happen to you were not what you deserved but am happy for you still

Bye

i've never understood why you guys care so much about that stupid void stuff. it's not the end all be all of manifestation, it's just a fucking method, like affirming, visualizing, scripting, SATS, etc. it means nothing. i truly do not understand the craze, the hype, watching people post about it and people try their hardest to get in such a state feels like watching the blind lead the blind.

if the void state isn't working for you, then just give up? no method has more significance than another, no matter what you do, the end goal is assuming you have something and it materializing. what does the void state have to do with any of that? why do you care so much?

what does the void state have to do with you achieving your dream body, your sp, money, clear skin, your dream house, dream job, what does the void state itself have to do with any of that? what is the law of assumption even about? do you even remember at this point?

the reason why you can't get into that void thing is because manifesting is about assuming, which is believing something to be true before seeing it with your own eyes (which is similar to a prediction). if you wait expectantly for something to happen, you aren't making an assumption. plain and simple. waiting for something to happen every night for 3 months defeats the purpose of making an assumption.. because waiting for something to be true, again, isn't assuming. you're supposed to already decide that it is.

i really don't know how else to put it. it just gets to a point where you guys don't even understand what you're doing anymore. if a method (a way of doing something) isn't working for you, then simply try something else? i honestly don't understand why this thought hasn't crossed your mind on your own.

in any other context, would this make any sense? you keep doing something that obviously isn't working for you until it somehow works for you, even though you already know it doesn't or it's taking too long? wouldn't it make more sense to just find another way?

this is the issue. you guys put this thing on a pedestal as if it means something, when just like any other method, it's just a way of doing something. that's all a method is, a way of doing something in order to achieve something. the purpose of using a method is to help you achieve something. so i truly don't understand why you've been trying and failing to use a method for 3 entire months. what significance does the void state truly have to occupy so much of your time? how is this more special than any other method?

and once you reach the void, what then? is it really worth stressing yourself out every night when people are literally manifesting their desires overnight by simply deciding they have them? while you've been waiting for a stupid method to work for you for the past 3 months? you are TRULY wasting your time.

you clearly are already understanding the law and proving it to yourself, so why not just keep doing that? if you've already found what works, then why are you changing? i don't get it. what do you gain in the end?

[hephaestuscrew]

I'm a big fan of the way that Gabriel Urbina often includes details within the Wolf 359 scripts that can't be directly translated into audio, for example: the "tears silently streaming down [Minkowski's] face" in Ep31 Securité; Eiffel being "wrapped up in a blanket" when telling Lovelace about his traumatic experience of feeling like he was turning into Minkowski in Ep32 Controlled Demolition; the way "Hera and Eiffel stand together, his arm around her shoulder" when confronting Pryce in the finale; the idea that Eiffel "salutes" Minkowski after his speech to her before the memory wipe... These details make reading the scripts an even more rewarding experience. 

But I do think there's an interesting question here about to what extent these details are canon. After all, when changes have been made in the dialogue between the script and the final recording, I only consider the dialogue that actually ended up in the episode to be canon, although the version in the script might still provide interesting insights. But with details in the scripts that are inherently not audible - and therefore never intended to be literally included in the episode itself - should we consider them to be canon, or bonus content, or Word of God, or simply a tool used in the recording process? 

I know that it is possible to have an entirely full experience of the show without ever reading a single bit of the scripts. The scripts are placed in the 'Extras' area of the show website. 

Obviously the primary purpose of the non-auditory script details is to inform the actors in their performances, and perhaps provide some considerations for sound design. When I read the scripts, I can often feel how the non-auditory script directions are reflected in the feel of the voice acting. 

But once I've noticed these script directions, I also can't help having them feed into my experience of the scene when listening, in a way that enriches the experience beyond purely the audio, and informs my understanding of these moments. The script directions tell us more about what the writer was envisioning for a scene.

I love sharing the script directions that feel significant to me, and when I do so, I feel like I'm sharing something more significant than a behind-the-scenes tidbit. I feel like I'm sharing further knowledge of what happened in that scene. The script directions feel like a true part of the show to me, more so than the comments the writers and actors have made in Q&As. To me, these non-auditory bits of the scripts feel like canon, but a slightly lesser form of canon than the episodes themselves. But I don't know if I can fully justify this view. I'd be interested to hear other people's thoughts.

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on 小红书, reposted & translated by me with her permission.

[pippin-katz]

Why Did Charles Keep Asking About Edwin's Conversation With The Cat King?

I was reading a fic where Edwin agrees to the Cat King's initial offer, but because time passes differently in whatever room that is, he's gone for six weeks even though it was a couple hours for him, and it got me thinking. I worked out why Charles was so pushy about that conversation.

Charles and Edwin have been together for 30 years. The way they act gives me the feeling that they spent very little time apart, and wherever one went, the other went too. In the fic, Edwin's inner monologue refers to it as "shared memories"; they experience everything together.

But now, there's this.

Edwin disappeared for hours on Charles' side of things. He had this conversation with a magical being, a stranger that sets off warning bells in Charles' head. He came back with a magical bracelet that trapped him in Port Townsend, that he couldn't remove, and something about his behavior was off.

Charles is not stupid or oblivious. He reads Edwin like a book, albeit with blurry text. He knows something is not quite right, but doesn't know what. And he knows it's because of whatever happened in the few hours that he wasn't with him.

For what is likely the first time in 30 years, Edwin has experienced/done something significant without him. Charles is in the dark; he wasn't there to see or hear what happened for himself. All he has to go on is what Edwin tells him, and he gets the immediate feeling that he's not saying everything.

When talking about it in front of Crystal, he just asks if he said anything else, but once they're alone in their office, he's direct.

Charles is absolutely (and correctly) sure that Edwin hasn't told him the real/full truth about his meeting with the Cat King, and tells him as much.

The way he asks feels... calm? Crystal's not there, they're alone, they're in their safe space, why wouldn't Edwin tell him? He probably thinks he would, but obviously, he doesn't. He lets a detail slip that confuses and concerns him even more; the Cat King whispering in his ear. That confirms very close proximity between them, something that's potentially dangerous and something he knows Edwin doesn't particularly like, and Charles is just... lost, uncomfortable, and frustrated.

Can you imagine how maddening that must have been? To not know what really happened? To only have vague descriptions of the events from his friend? To see and know that something is wrong with him, but being unable to truly help because he's clueless as to what the actual problem is?

It's highly likely that this is the first time Charles has ever encountered this.

As Edwin says, he's "fixated" on this. It's like there's a page missing in his copy of the script of events. He's never had to worry about it before; he was always there with him. Edwin says it's not a big deal, but Charles can't make that call himself. It's not that he doesn't trust Edwin; it's his protectiveness of him. He wants to see and assess the situation for himself. He wants to be positive there's no danger, that it meets his standards. He needs to know everything about where Edwin is, what he's doing, who he's with, at all times, so he can be ready to protect him.

As Jayden put it, Charles has given himself the mantle of Edwin's guardian. Edwin dedicates all his time and energy into helping others, to the point of neglecting himself. In response, Charles dedicates himself to Edwin. If he won't take care of himself, if no one else is going to help him, Charles will. As he says in Hell when he's rescuing Edwin, "Someone's gotta do it."

(ko-fi)

[shirefantasies]

Can I please request a preference thing with how the fellowship (maybe plus eomer, Arwen, eowyn and Haldir if you also write for them) react to a person they have a crush on who is physically affectionate with their friends.

The person holds their hand, puts their head on their shoulder, plays with their hair, cuddles etc.

Oh heck yessss! I do plan on writing for them too so here’s a good start 🥰 hope you enjoy this! Also, cut because loooong post 😉

LoTR Characters When You’re Naturally Physically Affectionate

Aragorn

✧ Is kind of surprised but also plays it off??? Like he doesn’t want to get his hopes up and assume anything wrong at least at first.

✧ Initiates back but in really soft ways, like tugging your blankets up higher about you when he sees you’ve fallen asleep at night.

✧ Smiles privately to himself on a later evening when you fall asleep at his side, head snug against his shoulder. The fact that you trust him so well is something he truly hopes to be worthy of, just like the glowing feeling in his heart.

✧ One day you straight-up just slide the ring of Barahir off his hand to try it on yourself, not fully aware of its significance. You mean it no harm and do even less, and something about the gesture touches Aragorn so all he does is smile and shake his head, asking if it fits.

✧ You soften him so much, so much you can see it in his eyes and his actions. When you brush some of his hair back out of his face, he kisses your hands lightly, eyes searching yours.

Legolas

✧ Kind of in a state of perpetual surprised pikachu around you tbh

✧ Like sure, his best friends don’t come from the same culture so he sees enough of that, but they aren’t usually very affectionate with him in that way so you casually sliding a hand over his shoulders to get something behind him has him flustered in a way he hasn’t felt before.

✧ Finds himself mirroring your actions a bit in his own way; he pulls you back from harm by your waist or elbow, holding on just a bit longer than he absolutely needs to.

✧ His eyes widen when you tell him his hair is beautiful and ask to braid it, but he accepts because what harm can it do? You tell him you’re doing a French braid and he’s relishing your touch, asking you to explain what that is.

✧ Smooth prince pulls the ‘your hands are cold’ on you to flip the script and let you know the affection is reciprocated, cradling your hands so gently in his own.

Boromir

✧ Is surprised by your forwardness, but in the most pleasant way. He loves someone who comes across so warm and hearty!

✧ The first time you clap a hand to his shoulder after a good fight, he mirrors the gesture immediately with a great warrior’s camaraderie without realizing anything.

✧ Goes from surprised to grinning when you offer to braid some hair out of his face for him. Milks the crap out of it, tilting so he can feel your touch as much as possible!

✧ Has no qualms about holding your arm or hand to walk together since you don’t, always offering it like a gentleman.

✧ Holds you back from danger firmly, keeping his grip as he whispers to you to stay back, care for you burning fiercely in his eyes. When you’re safe from harm, he finally voices how much you mean to him.

Gimli

✧ His eyebrows shoot up into his hairline when you first get comfortable enough to act that way, but that doesn’t mean he doesn’t love it!

✧ Dwarves are arguably the most physical race, so the fact that you express yourself this way is only the most pleasant of shocks.

✧ You find yourself playing with his hair one day and he stiffens, reminding himself over and over again as you begin twisting it into braids that unfortunately the significance is not the same for you as it is him. Maybe one day…

✧ Loves that you grab his arm when you laugh and elbow him playfully; begins doing the same right back and telling more jokes as an excuse for you both to do it more!

✧ Because you tend to lean on him in conversation or when you’re tired, Gimli sort of develops this habit of affectionate mini-headbutts like a cat. Your forehead? Softly bonked often by your favorite dwarf but only when his helmet is off of course 😌

Frodo

✧ It’s not a culture shock for him, so it’s not a source of confusion but it does have him overthinking because are you just doing it as intimate friends or…?

✧ Basically short-circuits for a second the first time you take his hand, sliding his palm against yours to compare the sizes of them; his eyes widen, but a smile gradually forms upon his face at the warm contact.

✧ Adores the way you sit close to him to read together or tell stories, your arms flush together as you share warmth- it’s like a little piece of home.

✧ Doubly so when you see the toll the ring takes on him and run a soothing hand up and down his back- he could practically tear up from gratitude and the way his heart explodes for you.

✧ You kissed him on the cheek once when he gifted you a sketch he knew you’d like and that feeling joins the imaginations and memories swirling through his head before sleep or when he loses sight of all the world’s blessings beneath the ring’s voice. He wonders if you know what a treasure you are- perhaps he’ll tell you tomorrow.

Sam

✧ What are you trying to do, kill him? JK mostly but man will be blushing constantly around someone like you!

✧ Leans into your touch so hard when you play with his hair, softly brushing leaves and tangled alike from the curls unabashedly like a sweet puppy.

✧ But also? Sam isn’t afraid to gently ask for what he wants from time to time? “Oh, um, I was wondering…got a real bad knot here and I just wanted to see if you were up to one of your famous massages?”

✧ You took his hand once to lead him off to look at some gorgeous flowers he could identify, so Sam finds himself plucking up the courage to take yours after a fight once, swearing he means to his best to protect you.

✧ Wraps his extra blanket around you so gently, smiling as your hands brush his to accept the new warmth about your shoulders, lingering over them for a moment.

Merry

✧ He’s a bit of a physical person too and teasing to boot so you two quickly become two peas in a pod!

✧ Both of you will teasingly sling arms around the other’s shoulders as you joke around or have mock conferences.

✧ Footsie at campfire time. Gimli complains about it a little because something about thinking you’re going to make him spill his soup or whatever, but you two barely pay attention when all your focus is on your childish little nudging game!

✧ Every now and again he just gets the widest smile at your antics, though, grinning as you sit with your arm in his or a hand resting upon his back.

✧ Will straight-up tell you you’re being adorable, then skip off smirking when he’s finally gotten you to be a bit flustered! You can’t even come up with a comeback to that for once…but maybe a confession? Big brain Merry wbk 👀

Pippin

✧ He’s in heaven, actually. Physical affection is his favorite and the one thing that ever stops him is being unsure if the other party will be uncomfortable. But you clearly aren’t, so game on 😎

✧ You got something out of his hair then ended up playing with his curls for a bit, brushing them back into place and arranging them, so he ups that by brushing some out of your face the next chance he gets, eyes never leaving yours.

✧ Since Pippin loves to sing and dance, he’s always pulling you to your feet to join him. But it doesn’t stop there of course as he holds your hand or waist depending on how open of a twirl the song entails!

✧ You two never sit up straight- someone’s head is always on the other’s shoulder or if you’re both feeling the lean, your heads are resting gently against each other, holding each other up.

✧ When he worries, you lay your hand over his and that’s it for him. He knows he’s lost, not even caring if you see how much love is in his eyes as he looks at you, especially when you gently squeeze it.

Eomer

✧ Unlearning his toxic masculinity a bit, so he is hesitant to initiate back at first, but as time goes on he can’t help questioning if there truly is more to your intentions…

✧ You tease him a lot, trying to get him to drop the serious facade, so putting your hands on his shoulders and making eye contact for mocking pep talks just has him chuckling and shaking his head at you.

✧ But when you wordlessly begin massaging his shoulders after a long day of training, hands kneading out tension in the most wondrous of ways, that has him flushing and trying to glance back at your expression without you noticing, hoping he can read something, anything.

✧ Eomer loves the way you push him when you laugh, hands against his chest or arm as you fall upon him in mirth. And if his arm ends up around you during that process? Oh well 😏

✧ Gets highkey jealous if he sees you being affectionate with anyone else, pouting because he thought he was special 🥺…but only for a moment before he’s marching over there to tell you how he feels once and for all, confessing his desire to be the one receiving most of your affection!

Haldir

✧ It definitely takes him some getting used to because he is a more reserved person and physical affection is a bit less common in elf culture…we’ve seen how surprised he is about hugs after all 😉

✧ Makes it his personal mission not to jump whenever your habit of tapping his shoulder to get attention comes into play, trying to stay stock-still and cool as a cucumber, but he can’t help feeling the corners of his mouth tug up at your giggle when he fails.

✧ Loses his absolute mind the day you gently run your fingers up his arm to get your attention, like it can’t escape your notice how he tenses, can it?

✧ Haldir expresses himself more with his words than with physical action. Every time you go out he makes sure you’re properly armed or dressed for the weather, and he always sharpens your sword himself, no one else is allowed to do it.

✧ Your actions are definitely a prompt to confess for him, like he would have sat on his feelings for quite some time but in the end he can’t help coming up to you to question your behavior and if it has any of the intent he dearly hopes it does!

Eowyn

✧ She isn’t used to this given her upbringing, but in all honesty it’s refreshing and she enjoys the feeling of love and comfort it brings.

✧ You see her looking worried and squeeze her shoulder, pulling her into your arms when she turns around. You can just feel her exhale, tension melting from her body.

✧ It quickly becomes you two’s ‘thing’ to link arms and you almost always walk together like that, screw whatever Grima has to say about it he won’t be around for long anyway 😏

✧ She thinks her heart is about to burst the day you two make home of the hills for an afternoon and you sit her down to weave flowers in her beautiful golden hair. Your hands are so gentle, never causing a single pull or tangle.

✧ She is forward with her words even if it takes some time, so one day Eowyn pulls you aside and with her hand in yours tells you how much she appreciates the glow of your presence in her life, the smiles you bring her.

Arwen

✧ Most people aren’t very playful with her, so she finds it very refreshing how relaxed, affectionate, and fun you are.

✧ You grab her hand and swing your joined hands between the two of you and all she can do is laugh merrily!

✧ One day, she wants to try the new sweets you’ve made, but imagine her surprise when you hand-feed it to her. Being an elf of such poise and grace, she doesn’t make a mess at all somehow despite her eyes firmly being on yours and nowhere near your creation 👀

✧ Arwen’s favorite habit of yours is the way you’ll take her hand and spontaneously twirl her around like you’re showing her off or having an impromptu dance. It lightens the weight of all other things for a moment and makes her feel like a queen!

✧ Repaying the favor, she makes sure you’re her first dance at every party. You open her up, giving her complete comfort to approach you and interlock your fingers, asking you if you won’t please her with your company for a bit. Of course you always say yes- you would even if she didn’t given you that teasing smile.

[nataliescatorccioapologist]

My takeaways from attending the Yellowjackets Vulture Fest panel

If you saw me and my friend trying and failing to carry 7 alcoholic beverages into the room, no you didn’t

•There will be a Season 3 announcement this upcoming Tuesday that fans have been “waiting for” and “expecting” for a while.

��I’m just going to come out and say it: Ella Purnell is definitely returning for Season 3. The interviewer asked if there is a chance of Jackie returning in flashbacks or hallucinations this season, and the writers all shared a knowing look, giggled, wiggled their eyebrows, and said “Maybe” with a smile. She’s coming back for sure guys.

•The writers were asked to rate the level of gore in Season 3 on a scale of 1-10, and they said, at certain points in the season, it will be a 9.5

•Van was originally supposed to die in the wilderness but the writers loved Liv Hewson’s performance so much that they decided to keep Van alive.

•Laura Lee was also supposed to die earlier (in episode 2) but the writers loved her character so much that they decided to keep her around until episode 8 instead (and they took great joy in writing her trying to fly that plane).

•The writers emphasized that the two sides of Taissa are not meant to be “good” and “evil” but rather “pragmatic” and “primal.” The “bad one” is really just more uninhibited, more open to the spiritual, ethereal side of things while the side of Tai we know and love is the more practical and logical side that is skeptical of the wilderness.

•Shauna is said to be the “core” and “impetus” of the events of the show. They also said that she best represents the duality of the primal nature of the wilderness and the pragmatism of civilization.

•Shauna eating Jackie was said to be both an act of “hatred” and “love.” Shauna consumed her both to as an act of worship and wanting Jackie to always be a part of her, as well as an act of “domination.”

•It was also emphasized that Shauna drawing the queen card in the adult timeline is not a coincidence and definitely holds significant meaning. The writers seemed hesitant to expand on that meaning, so I have a feeling it has something to do with adult Shauna’s storyline in Season 3 and beyond. In my opinion, Shauna drawing the queen card was symbolic of her assuming a leadership role in the adult timeline that will play out in Season 3.

•It was also said that Natalie’s death in the adult timeline is very much connected to her drawing the queen card in the teen timeline. They implied that her drawing the queen, in a way, lead to her eventual death. I’m wondering what this means for Shauna drawing the queen card in the adult timeline?

•Some of the actors wanted to know how their stories are going to play out, and some of them did not. Samantha Hanratty was named as one of the actors that does not want to know her character’s future and doesn’t read the adult timeline scripts to avoid the influence of them on her portrayal of the character.

•Natalie was specified as the “moral code” of the group, which is why the writers say she is so impacted by Javi’s death, as it goes against her moral code. This is part of the reason why she is so “broken” in the adult timeline.

•Natalie’s death was planned from the beginning. The writers confirmed that Natalie hallucinating Misty at the bonfire in the pilot episode was intentional foreshadowing and a “prophetic moment” for Natalie. This moment was said to foreshadow both that Misty would become an important figure in Natalie’s life one day and that she would be the “mechanism of Natalie’s death.” The writers said that Nat was always meant to die at some point, but they weren’t sure initially when it was going to happen. They said they decided on the end of Season 2 because things were just starting to go well for Natalie, she was just starting to heal, and therefore she had to die.

•The writers pointed out the impact of seeing Misty, a character who does not usually express genuine emotion (when she does it’s usually in a manipulative manner), fully sob and express genuine horror and grief during Nat’s death scene.

•Jeff was originally just meant to be an “accessory” to Shauna, but he gained more meaning and importance to the show as the writers loved Warren Kole and his portrayal of Jeff.

•For season 3, the writers were pretty tight-lipped, but they did say that they are very proud of the season and excited for people to see it. They said that there will be an interesting dynamic in that the winter will be over in the teen timeline, so the characters will have to grapple with what they’ve done now that they’re out of the dire situation they were in in the winter. They said this will have a great effect on their psyches and group dynamics.

•Joel McHale was cast after Ashley Lyle met him at a party of some sort (and Lyle admitted she was drunk during the encounter) and, after he said he was a fan of the show, Lyle basically said “Oh well I have a part in Season 3 for you” and he was cast.

•They were asked directly about the Eden lawsuit, and they had a little giggle about it and admitted that they’ve never seen that movie, and they’ve been very upfront about their influences (Lost, Alive, etc.) They obviously couldn’t say much more about it, but it was funny seeing them react.

•The writers emphasized the distinction between “fan appreciation” and “fan service,” and they said that, while they occasional look at fan feedback on Reddit and Twitter, they keep that feedback out of the writers room. This is actually very comforting to me, I was worried about Season 3 falling into the fan service trap. I am glad the writers are sticking with their intuitions and original intentions for the show.

So excited for Season 3 and so grateful these amazingly talented writers and showrunners are at the helm of it!

[omartinyosef]

ST5 POTENTIAL SPOILERS!!!

GUYS I FOUND THIS ON REDDIT AND ACTUALLY IT'S QUITE INTERESTING

ST5 Leaks/Fleaks

Gen Plot

Season picks up briefly where we left off in 1986 before jumping into either late 1987 or early 1988. The season is contained entirely in apocalyptic Hawkins. Things with the government are shaky. Owens doesn't appear in the beginning of the season and it's unclear if he's returning, but Ellen Stinson is the new Owens. Hawkins is like a combination of the UD and Kamchatka.

Labyrinths/Mazes being important to both the supernatural plot and the interpersonal relationships. They're inherently linked.

Two songs to be featured are 'Listen to Your Heart' and 'Alone,' both of which were apparently foreshadowed in a previous conversation between Hopper and Joyce, similar to how Hopper's "I'm the puppet, you're the master" to Joyce in S3 basically foreshadowed Eddie's 'Master of Puppets' in S4.

S1 and 2 scenes being referenced are "Nancy and Mike's conversation in the bathtub" and "Hopper + Lando Calrissian"

Lots of importance in COLOR CODING and blocking from the final shot of S4, and a good chunk is told in the costuming—like passing the torch from one character to another as their arcs overlap. For example, Hopper and Will share the "am I the curse and therefore putting my loved ones at risk by being near them?" sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, whereas Eleven stands out because she's the first one coming into her own this season. The white for her represents shedding of false skins.

Character duos this season will be primarily dressed in colors of blue/green and yellow/red.

There's lots of symbolism and foreshadowing for every character in S5 from the moment Will touches his neck in the last sequence of S4.

S4 focused on themes of lies and miscommunication, and everyone is going to have to work through these lies before they can defeat Vecna.

Murray and Argyle are both back. Dimitri and Yuri don't seem to be in the beginning of the season.

One thing left unresolved with the Russian plot. Something important will happen involving the machine and the green liquid from the Starcourt bunker. Reference of Dustin vowing to die with Steve when they initially discovered it.

Hopper, Joyce, Mike, Will, and El had to be away from Hawkins, otherwise Vecna wouldn't have won.

An important death that they're nervous about given the reception to Eddie (not Joyce or Jonathan—see details below).

Eleven

We'll see her unlike we've seen her before. A badass who doesn't take shit from anyone. Not a Monster, not a Hero, Jane. Think: adult El could be headed for a Charles Xavier type role.

Erica, Lucas, and El will share scenes together.

El has significant blocking and development with many characters this season.

Max, Eleven & Max

The "kaleidoscope of colors" from a script the writers posted makes a feature in both the scene where young El remembers her mother's love in order to defeat Henry in the lab, as well as the scene where El revives Max. This is significant because it's the first time we see El using her powers on someone in a non-violent way.

El was able to revive Max because of she, herself, being revived in the bunker by Brenner and Co. It's a show, don't tell moment from the writers.

Max getting Vecna'd was foreshadowed in the beginning of 2x01.

Will, Henry/Vecna, The UD

Filming was supposed to commence mid-June, but Noah and Jamie were set to begin in May due to more complicated costuming. Will is going to require heavy prosthetics at some point.

Will's character design is blocked in three stages. The more the UD bleeds into Hawkins, the more connected to it he feels. The gates being open will physically influence him, especially when he's not as mentally strong.

He's kind of like "the card up Vecna's sleeve."

It appears they want to confuse the audience about Will.

Will wrestling with his own morality

Henry/Will mirrors. Will will sympathize with Henry because, unlike El, he knows how and what Henry thinks, and he can feel him.

Vecna and Will are very similar, but the difference is Will is made stronger by love not hate. They will play into that duality.

Vecna was nerfed in S4 compared to how we see him in S5. He'll be much stronger.

At the beginning, he'll be taking a hiatus while he plans how to divide and conquer now that everyone's back together in Hawkins.

Soteria will be the key to saving Will. If they want Will to be untraceable to Henry, they'll have to insert it into his neck and it'll be painful. Vecna not having access to Will fucks up his ability to leave the UD.

Byler/Mileven Triangle

Apparently, it's complicated and up in the air as of now.

Mike dealing with guilt this season. He feels guilty/responsibility for El. He feels stuck in a loop that keeps him from a truth he's scared to face.

Will and Mike to spend a good chunk of the season together based on character designs and blocking.

Will telling El that Mike won't like being lied to comes back with the painting. During a pre-time jump scene in 5x01, while everyone's together plotting how to defeat Vecna and brainstorming how to save Max, Mike brings up the painting El commissioned for a D&D analogy. Will has to pull Mike aside and confess he lied about El commissioning the painting. Mike gets angry, because he doesn't know about Will's feelings and feels embarrassed that Will thought he was that pathetic he needed to be given a pep talk. Their own version of a "fight you can't come back from." Immediately after their fight, we get the time skip.

Mike's character motivations are unclear and seem to be kept under wraps. After the time jump, he and El won't be talking as much because he's keeping the details about Will's painting from her. She's gonna ask what's wrong between him and Will, and he lies/is very vague.

Joyce, Hopper, Jopper

Joyce feels immense guilt/responsible over Bob's death since she's the one that asked him to help in S2, which is why she pushed Hopper away at first.

Hopper has a secret from S1 that was never addressed, and it comes back to haunt him.

Joyce sustains an injury in S5 that is reminiscent of the way someone was injured in S3, but it isn't critical and she'll be okay.

Jopper are the most established couple after the time jump. Lots of bickering still, but Hopper trusts Joyce more than he ever has.

Jonathan, Nancy, Jancy

So far, does not seem like a breakup is happening.

Jonathan's still lying about the college letter and distant because of it, and Nancy thinks he's not as into the relationship and that there might be someone else. She confronts him, which leads to a talk. She's touched by the lengths he would go to try and protect her and any of their future children even from himself.

A moment where we're led to believe Jonathan dies but doesn't, like Hopper in S3.

Hopper-Byers Family

These five characters slowly unraveling their arcs together and have always been closely linked. Their perfect endings are together.

We see the family combining, especially in relation to El.

Joyce gets to witness Hopper being paternal and tender towards the boys.

Scenes with Joyce, Jonathan, and Will

Hopper being back lifts a weight off Jonathan's shoulders.

------------------------------------------------------------------------------

So, now time to shine.

''(...) sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, (...)''

Okay. How did we see Nancy in S4? Confused. Confused with the love triangle between Jonathan, her and Steve. Jonathan is her actual boyfriend. And Steve is her posible love interest again.

So, putting this in byler language: Nancy = Mike Jonathan = Eleven Will = Steve

If Mike's and Nancy's character's clothing is important at this point of the time line and that means they feel similar feelings, this could mean that byler has a chance. BUT then we read this: ''(...) He (Mike) feels stuck in a loop that keeps him from a truth he's scared to face.'' And

''Mike's character motivations are unclear and seem to be kept under wraps.''

THIS LITERALLY MEANS BYLER. FOR REAL. Like byler could be endgame. Also, remember Eleven's injury in S3? Do you remember the leak of a shoe covered in blood?

It's Joyce. ALSO YOU CAN READ THAT WE'LL HAVE SCENES BEFORE THE TIME JUMP. And here it comes. Look at this freaking hair:

Does this look more like this

or this?

The season 4 bowl cut right? So maybe this is right in some part? I dont know. But that could make sense why Will is wearing Mike's pants, because his clothes were in California by that moment. But i really do think that the pic that was leaked a few days ago is before the time jump.

Im so late with this info haha :) but i kinda think some things here make sense. Even if this is too well explained to be a leak.

[theduckeminence]

I can’t stop thinking about Eddie Dear y’all.

First off, the probable reason behind what had occurred to him is most likely due to him being scrapped/taken off the script of the show is just both saddening and dreadful on his part. Like he exists within the realm of the Neighborhood, but considering his absence throughout the recent update, aside from him giving the viewers a decoder + clips of him throughout the Home-warming ad compilation, its safe to say that Playfellow Workshop had most likely taken off him of the show, or at the very least, lessening the amount of screen time he receive (in this case being the ads/commercials).

And now onto the actual possible reason why Eddie Dear would be taken off script. Now thinking back to the fact that Eddie & Frank being a couple is canon, it’s also safe to say that because of their connection in the show — even though Playfellow Workshop attempts to have them be distant or lack any sort of significant interaction onscreen — Eddie & Frank’s relationship, or at least Eddie’s love for Frank, could certainly be the reason why the he was taken off script.

After all, if two male characters are shown to be gay for each other in a kids show from the 1970s, chances are Playfellow Workshop would rather scrap the homosexual (derogatory) mailman character than have Welcome Home be taken off the air entirely just because of said mailman character.

Furthermore, what’s more interesting and ironic about Eddie being a prominent character who became intensively aware of his situation is the fact that he first appears to be a character who could be considerably perceived as“insignificant” or “irrelevant.” Of course I don’t actually think he is, but from the way Playfellow Workshop and the Homewarming commercials are framed Eddie, it can be interpreted that Eddie is seen as a rather character of little relevance.

It is partially due to him being taken script, but it’s also the fact that his only thing going on for him is being the mailman for the neighborhood — as well as a bit of a comedic relief. Eddie said himself in the Homewarming video from the secret site — if I’m correct, he feels that nobody appreciates him enough for his work (though correct me if I’m wrong). And that since there’s no one there to ask him to deliver something, or call, or check up on him, he feels as though that — somewhere inside of him — he feels both left out and “irrelevant.”

His one role is to be the neighborhood delivery man, and without that, then what exactly would he be good for?

(this could further be emphasized when Sally told him that they made the deliveries for him to give him a day off — even though no one told him that, and chances are this is perhaps Sally trying to reassure him when in reality, he was just scripted out of Homewarming hence why no one came to talk to him. Getting lil off topic oops—).

Recircling back to the original topic, yada yada yada Eddie just being a mailman and besides that he views himself to be irrelevant so on and so forth.

One thing I would like to mention, relating to Eddie being the probable first of the group to become aware other than Wally, is that I find it surprising that Eddie Dear IS the probable first to become aware like Wally.

To tell y’all the truth, I didn’t think he would play such a significant role in the Narrative (and thus probably doomed by it too). I would have least thought Frank or Julie would have been next to become the more Self Aware.

But Eddie Dear? Our loveable, friendly, and reliable mailman — Eddie Dear? Suddenly depersonalizing right on the spot with a pea plate and becoming aware of both his sentience, the weirdness of his setting overall, and how he could hear Home’s heartbeat? How he knew that the moment he comes to this revelation of self-awareness, he can’t go back? That everything he has ever known is most probably not real and/or all a lie?

It just has me stopping for a second on why and how him, but after thinking about it furthermore, alongside reading analysis posts, it would make sense for him to be next on why he had become Aware.

And I can only assume that from here on out, things are bound to change. And I for one fear these colorful lil puppets — particularly Eddie in this case.

Lets just hope the existential dread doesn’t drive all of them over the edge.

[evilminji]

:T Hello there, Thought(tm) of the day...

I? Just remembered that Constantine's "Laughing Magician"(?) title is... f*ckin HEREDITARY?

Like?? As in The Constantine Meances have been out here, harrasing divinity and demons alike for GENERATIONS on behalf of a Good Time, the Lols, and probably Humanity if they can be arsed and you make a good case.

W... What chance would there even BE of at least like? HALF those f*ckers(conflicted but affectionate) NOT becoming Realms Ghosts? With the sh*t they're exposed too? With THEIR luck??

You think DEATH can trick them? Take them away for good? Take away the local Rat B@stard, Tricks Gods Just To See If He Can, Fate Is My Second Mistress and I Cuckold Glory On Your Mother's Bed, Constantine?

They run down main street, *ss in the breeze, wearing someone else's shirt and two shoes that don't match, not a stitch else, like run away lovers. Let Death TRY and catch them. Sorry, Luv, it's not them, it's definitely you.

..........I bet they're the wooooorst~~✨️

No joke, I bet they set up a whole *ss TOWN of Constantine.

Where the odds are in THEIR favor, gods fear to tread, and reality straight out stops working right. Like Diagonal Ally for B*stards, extended to a whole floating island. Everyone's related. It's Chaos. They can barely stand each other. Would sell each other for a toothpick.

Mess with ANY off them... and you can kiss your afterlife good bye.

They have NO neighbors because both no ones dumb enough to get NEAR them AND no one can stand to be around that many Constantines at once. The physical Manifestation of Fate wants to take the whole LOT of the handsy F*CKS to court for child support and a restraining order.

Somehow... they keep getting Earth Booze.

They SHOULDN'T have access. It's been anywhere from decade to centuries since they died. Millennium for a few. Howms't The F*CK, do they keep getting cheap gin and vodka? Bourbon and beer? Even the odd fruity cocktail for funnies.

Please... PLEASE! Tell the Zone at large, that their innate birthright powers STOPPED at Death. They... they are just REALLY good at smuggling right? Excellent con men?

Tell us they can't f*ckin PREDICT AND INFLUENCE Natural Portals!!!

*smug sipping noises from a large room full of Dead @ssholes*

Okay... They Won't Tell You~ 🍺🍺🍺🍺🍺 *siiiiiiiiiiiiiiiip*

Now! I hear you ask? Why are John's Terrible, Terrible, God Awful Ghostly Relatives relevant? Absurdly powerful as they are... they seem to take the afterlife as an extended "Ha! GET F*CKED, DEMONS WHO WANTED MY SOUL!" Vacation/Family get together.

Minded their business and expected everyone to mind THEIRS, or ELSE.

Didn't give two solitary SH*TS that Pariah woke from his little nappy-poo to cause a tantrum. After all, in their family? When DOESN'T some "great and terrible Power That Be" get itself in a snit? Meh... it's baby Johnny's turn to clean sh*t up. Best of luck to 'im~!

But THEN!

They must've been drinking... making out with their equally terrible and bamf trainwreck significant others... sitting around playing "who can cheat best at cards"... when? Huh.

Never seen the Fate and The Odds... STRANGLE like that.

Billions of billions of What-Ifs, Maybes, Could-bes, and more... suddenly YANKED towards a single spot. The allowance of Only One Outcome. Almost like what they can do, but... not, WRONG, per say...

Just... impossible.

There's NEVER.. JUST one way this plays out. You can control the big notes. The script. But the details and set dressing will always decide themselves.

NO ONE can just... Decide What Will Happen. And yet?

...............was....... was that Little Johnny? Has to be. Right? Where's his old man? Oi! Was that your Kid??! John's closest relatives are baffled. Nope. They can still feel him laying a beat down on some demon in Norway. So then? Who?

How?

Well mark them CURIOUS(tm).

They decide to actually get up. Put their various drinks and cards down. Put pants on. Somebody's done something... INTERESTING(TM) and they want to know what's up. So? Off they trot.

It's traumatizing for everyone who sees them. The Constantines have breached f*ckin B*stard Containment and are spilling into the Zone. On this! The DAY Pariah Waged A War! THEY JUST GOT RID OF HIM!

And Danny? His everything hurts. The Eyeballs are starting to come out of the woodwork and ARGUE about him like he's not even there. He's DANGEROUS blah blah blah. Give them the crown. Right now! Etc etc.

Somethings telling him not too.

It's... it's HIS isn't it? Has been for centuries and seconds. And... and... everyone one of him is King. There is only one of him. The Zone covers all the multiverse and all of the Hims that were and aren't here and helped and... and...! His head is starting to hurt.

But the more they try to push him to hand it over, the less he feels like unhanding the dang gaudy thing. No. His now. He'll use it as a DOOR stopper if he dang well feels like it! Stop yelling.

Then all these blonde ghosts saunter in... and all he can think is "F*ck. I think they noticed."

Huh?

@stealingyourbones @cyrwrites @bjurnberg @the-witchhunter @hdgnj

[buckgettingstruck]

here to ask about the camera panning to eddie. give me the freak answer pls

when i saw that shit airing i yelled and spilled wine on my carpet.

like. i feel like this is common sense but i dont know if people realize how intentional each second of a show/movie is. like whether the show is a silly sitcom or a serious drama everything is so intentional and purposeful. of course theres always continuity errors and mistakes that happen when you’re creating a show of that size thats been running for so long but for the most part everything has its intentions. its why you see certain themes come back again and again. im not gonna get into outfit meta or anything like that because its not really my wheelhouse but i did learn a lot about camera techniques and im a writer so. yeah.

shots are one of the most important aspects of a movie or a tv show. they set the mood. close up shots convey intensity and emotion while more wide shots establish a scene etc. they gave us a lot of close up shots of eddie’s face in the kim and eddie scene at the end of 7x09 because it was an intense moment for eddie as a character for example. you have to get the shot right to convey what you want your audience to see yknow.

so. you have the medal ceremony. they couldve done the announcements for these people in literally any order because they fucking wrote the script. they didnt do it alphabetically or anything normal they literally had the trio of triangulated desire standing in the back with buck in the middle AGAIN while chim and hen were being normal and serving cunt up front. and when they were sitting they had buck in the middle again because reasons. then once they got their medals itd pan to their families and significant others clapping. ofc for tommy they pan to buck because thats the person there supporting him. for BUCK they had so many options. they had bobby, his captain that he verbally said was his father figure the next episode, they had maddie, his fucking SISTER AND THE WOMAN WHO RAISED HIM, and they had tommy, the dude he’s dating. instead they pan to eddie.

literally that is the absolute LOUDEST fucking thing the show has done so far in my opinion. they panned to buck for tommy!!! they couldve panned back to buck or done it in a different order if they didnt wanna repeat so they could pan to them for each other!!! but they panned to eddie and the director of photography was even emphasizing that choice on twitter.

the entire bi arc had eddie written all over it. they had so many opportunities to shove their relationship to the side and double down on their friendship but they didnt. instead we had buck tweaking at the gym where we have no idea who eddie was even talking to on that phone, eddie constantly mentioned by buck in a kiss scene with someone else, the line of all time ‘MY attention?’, eddie interrupting the date next episode, buck not even giving a FUCK about the date because he lied to eddie, the shit maddie said that episode about being confused about his feelings, eddie saying nothing is gonna change between them (which. thats a chekov’s gun if ive ever seen one), and all the entire shit with the bachelor party. not even mentioning the implications of the song choice for the karaoke scene that paralleled madney because we didnt get it in the episode. they couldve completely avoided all of that but they didnt and then when buck is dating someone else they dont pan to HIM being happy and supportive for buck, they pan to EDDIE. it feels as if its supposed to remind us what’s actually going on or another attempt to clue us in

also like right after they had the two who were dating acting as acquaintances. and had that guy also kinda put buck’s excitement down at said ceremony. and later in that episode had buck ditch plans with the guy he was dating to make sure eddie was okay. for reasons i guess. so buddie canon or theyre doing a real bad job at getting me to care about bucks actual man

[isagrimorie]

This is a really good interview with Jac Schaeffer about episode 7 of Agatha All Along.

Schaeffer orchestrates “Death’s Hand in Mind” to unfold with an emotional clarity that allows LuPone to shine in one of her best ever on-screen performances.

[snip]

What sort of feedback would she be giving?

She has a number of mini-monologues, and as we got closer, I tweaked a few of them. She came to me and was like, “Can we please just do it how it was?” And I was like, “You’re the boss, absolutely.” She’s a theater actor. She respects the page. I was trying to streamline and get us moving, and she was like, “No, I want to say all these things.” And bless her, I’m so glad she said all the things.

There are really two different tracks in the episode: the linear timeline as the other characters are experiencing it, and the emotional timeline as Lily is experiencing it. How did you and Patti navigate that?

Patti asked for a script in correct order so she could understand what she was doing. She really did have a solid handle on it, but she would get lost a little bit. Her focus was, “Where is the big emotion? When do I really unravel?” That’s why she wanted to see the episode strung out linearly, but I was like, “You’re the one bouncing around.” She’s the constant, so whenever she’s feeling the deep emotion of it, that is correct, because she’s being wrenched all over the place. So I think her process was finding when the pulling around really starts to trigger her vulnerability.

[SNIP]

The other thing that was very complicated about this episode was the practical part. Those swords are real, and they’re on piano wire. We had to number them and know the order and decide where they went before any actors set foot on the set. So we had this sword map that was nuts, and Ishi was my sword angel, keeping all that in both our minds. And the actors — they were so lovely — they were willing to let me say, “We cannot explore dancing around the space. I need you here right now, otherwise a sword is going to hit you in the face.”

THEY USED REAL SWORDS. When they said that they used minimal CGI… they were not kidding about it!

[snip]

Lilia, Alice, Mrs. Hart — are they all really dead?

I anticipated this question today, and I’ve been thinking about my answer. What I want to say is that this is a show about death. We actually have the character of Death in our show. I am interested in that conversation, and I am fascinated by how death is used in the comic space and in the MCU. Personally, I feel that when a person dies, you can still talk to them and feel them, and they can still be in your lives. But death is immutable. It is permanent. With this show, we wanted to pay respect to that. So this a more earnest and grave conversation about death than maybe you would find in another superhero project.

I like this actually. I like that in WandaVision the show dealt with grief and trauma. This time it’s dealing with death face to face and having an honest discussion what death is.

I think what it will end up showing is that death… is not evil. Death just is. It is a fact of life.

To paraphrase the Ninth Doctor: Everything has its time and everything ends.

So are the Salem Seven dead?

Yeah, the Salem Seven are dead. They’re off the board in our show, is what I will say. Lilia has saved everybody!

And true to my hypothesis, when Jac is fibbing or not telling the whole truth, she answers as succinctly as possible. Because it is technically true the Salem Seven are dead because the remaining Salem members are now just the Salem Two.

Since only five appeared in the Tower.

Lady Death has been a significant character in the Marvel Comics for a long time. When did you decide to include your version of that character in the show?

Oooh, it’s so fun to be talking about this now. We wanted a pursuant character. We wanted somebody who was going to be after Agatha, and therefore after the coven, because we liked the logic of whatever Agatha’s problem is, once they become a coven, it becomes the problem of the whole group. Very, very early, we had this character we called the Debt Collector. Witchcraft is a lot about intention and exchange and checks and balances. So we had this notion of someone being after them for unpaid debts of witchcraft. I don’t remember when we pivoted to death, but it was just so sexy. We were just like, who is the perfect ex-lover of Agatha Harkness? It was just so obviously Lady Death. It felt so right. 

It’s so interesting what they conceptualized for the ‘pursuant’ character before locking on to Rio/Lady Death. The ‘Debt Collector’, it says a lot about their initial thoughts and rules for Witchcraft which sounded (to me) something similar to Fullmetal Alchemist’s philosophy of ‘Equivalent exchange’.

The intention of checks and balances and unpaid debts of witchcraft.

Also, I still love that the person, the character who brought Lady Death, the cosmic being into the MCU wasn’t Thanos with his trillions of death via snap. It’s not Deadpool.

The character who brought Lady Death into being is Agatha Harkness.

Executive producer Mary Livanos and writer Giovanna Sarquis were instrumental in the character. Giovanna came in with the Dia de los Muertos [look] and having her be Latinx, and Mary was very much an influence on Rio’s darkness and toxicity and how enmeshed Agatha and Rio are. It was something that needed approval from on high. We had to get the sign off from Kevin [Feige]. There was a moment where we were all holding our breath, worried we weren’t going to get it. We were really delighted that we got the OK.

I love this, @mswyrr pointed out that Santa Muerte and Lady Death actually has similarities. And to know now that it’s deliberate? It’s so amazing.

Also, Mary pointing out the darkness and toxicity knowing that Mary Livanos is a Buffy the Vampire Slayer fan and quite possibly a Buffy/Faith shipper… The knife scene in the first episode feels more like a deliberate reference now!

This is what happens when fangirls become in charge! Wooo!

You said Rio is a “pursuant character” — is she a villain, or at least an antagonist?

Yes, I would classify her as an antagonist. I would classify everyone in the show as a villain and a hero at one point or another.

[snip]

Again with a carefully short answer. But also the emphasis that she is an antagonist and Jac’s insistence that in the show no one is purely a hero nor a villain. Because people are more complicated than that.

we designed this show to really take off dramatically in the back half. I’ve been really interested to see how that lands with people. I think for the most part, people are on the track that we hope they will be. It’s not about the specifics of characters showing up or cameos or revelations, really. But it sounds to me like what people are emotionally interested in, I hope that we deliver on that. There is more Agatha, there is more Rio, and there is a conclusion to this story, and there is some truth to be shared about Agatha.

I like that— for Jac it’s not the cameos or the revelations, it’s the emotional interest and investment. It’s the unpacking of Agatha as a character, its Agatha and Rio individually and together. This is what Jac and the writer’s room are interested in.

I love that in superhero show, they’re tackling the very heavy subject of death. And I trust this team of writers to bring it home.

[tbshorts]

The Best Panels of One Piece, Romance Dawn (chapter 1-7)

Full video scripts below the cut

Chapter 1:

What are the best panels in One Piece?

Chapter 1, being the very first one, obviously has quite a few contenders. Luffy's very first Gum Gum Pistol is an obvious one, setting the tone of One Piece's battles with its mixture of goofy and badass. Plus, god damn, even in chapter one Oda knew how to do an epic splash page.

I also like this panel, where Lucky Roux shoots a mountain bandit in the head. This too is a major tone setter, driving home the seriousness and danger of pirate life. The story up to this point mostly plays as fairly lighthearted comedy, and seeing the jolly cartoon fat guy casually murder a man shocks the audience a little bit. Despite the cartoony artstyle, this isn't a kiddy pirate adventure.

But the crown has to go to the passing of the straw hat from Shanks to Luffy. It's a panel that has only ever taken on more meaning as the story has gone on, and the symbol of the straw hat has taken on more and more importance. It represents the promise between Luffy and Shanks to meet again, Shanks recognizing Luffy as an equal, and it's the passing of a torch. That straw hat means something, and Shanks is passing it on to someone who he feels is a worthy heir to that significance. “Romance Dawn” indeed.

Chapter 2:

What are the best panels in One Piece?

Chapter 2 is all about establishing Luffy's character now that he's grown up, and especially the scale of the odds he's up against. What does his dream to be king of the pirates really mean?

And this is where Oda shows his skill not just as an action and comedy artist, but as a storyteller. He introduces Koby the Cabin Boy, a character who mostly exists to contrast Luffy. Scared, self-defeating and cowardly, even his body language is Luffy's direct opposite.

When Luffy says he will be king of the pirates, Oda drops the angle down low, playing Luffy's chill, unaffected sitting posture against Koby's shouting. His arms are wide, foreshortening even out of the panel as the nervous boy tries to communicate the jaw-dropping scale of what Luffy has said he will accomplish. "Don't tell me you're after the One Piece"?

We feel the weight of Koby's astonishment here, the monumental nature of what Luffy has promised to do. The One Piece isn't a silly bed-time story for children, it is a real thing, and to go after it is to march to almost certain death. And the fact that Luffy is so casual about it, because he has accepted death, is not normal. Luffy is not normal, and Oda establishes this visually through acting in every interaction he has with Koby.

Chapter 3:

What are the best panels in One Piece?

Chapter 3 introduces Zoro with this amazing panel, which, given how much of a martyr he is for the crew and Luffy, WOW what a hell of an establishing shot. But it also establishes one of the great running themes of One Piece, which is the abuse of power, and the value of freedom. Helmeppo lords his status as a navy failson over the townsfolk, abusing his position and status in a way we will see villains in the story do over and over again.

And Luffy does what Luffy will always do to those who use their power in this way. When he learns that Helmeppo lied to Zoro, let him believe he would be free if he survived a month tied up, only to plan an execution behind his back…

This happens.

There are many reasons One Piece is a fun and satisfying narrative to follow, Oda's dynamic and exciting art is a big one for me, but the thing I love the most might the vicious delight the story takes in showing us the ruling classes getting the ass-kicking they so richly deserve.

Chapter 4:

What are the best panels in One Piece?

Chapter 4 gives us perhaps one of the weakest villain designs in the series, which is Axe-Hand Morgan. His obsession with power and control foreshadows many of One Piece's best villains, but… hoo boy, not Oda's best character design.

On a better note, though, we're getting one of the most important recurring story beats in the narrative, which is the effect Luffy has on people around him. Koby, who not two chapters ago was a cowering appeasing wretch, walks into the execution grounds to free Zoro because he can't stand to see the navy oppressing people this way. He accepted abuse from Alvida, but no more. Luffy changes the people around him, and the most important thing he does is set them free of their fear. He teaches people to pursue their freedom, even if it costs them their lives. He will do this many times throughout the story, and Koby won't be the last person who almost dies to chase the dream Luffy kindled in them.

Chapter 5:

What are the best panels in One Piece?

In Chapter 5 the obvious choice might be Luffy taking bullets for his friends in the nick of time, which is a very Luffy thing to do, but I think the best panel is something much quieter. We get a flashback to Zoro's backstory, and his rivalry with childhood friend and swordfighting prodigy Kuina, who is idly one of the most transmasculine characters in anime history.

The panel that strikes me the most in this chapter, though, is this one. It's just a little transitional panel, Kuina lying there, dead, with the words "humans are fragile things Zoro" hovering above. Oda uses crosshatching to just barely hint at the eye sockets under the cloth, which otherwise erases Kuina's face, erasing identity, erasing life. It's such a quiet and disquieting panel, such a matter-of-fact reminder of cold mortality in the middle of all Zoro's hotblooded shouting. It's a death that is so meaningless, and Zoro, in taking Kuina's sword with him, is trying desperately to make it meaningful. If he becomes the greatest swordsman in the world, then everyone will know that Kuina was his greatest rival.

I think it's the same reason so many One Piece fans want Tashigi to turn out to be Kuina in the end. Because the idea that people can just vanish from our lives, so coldly and so pointlessly… it's a scary thought to have.

Chapter 6:

What are the best panels in One Piece?

In Chapter 6, the easy answer, I guess, is the big epic Oda splash page of the Gum Gum Whip taking out a dozen Marines, but… I mean you know it has to be the introduction of the Three Sword Style. Dear Zoro, with his cool bandana and his intense looks and his tragic backstory… and here he is with a sword in his mouth.

This is the power of One Piece. Because on the one hand, this is stupid. This is objectively stupid. Holding a sword in your mouth is dumb, this looks dumb, this doesn't work, this is cartoon nonsense that doesn't make any goddamn sense.

On the other hand… this totally fucking rules. Oda presents it so perfectly with that hunched over power pose blocking ten swords at once, and the black bandana over his head, although I'll never forgive the translators for covering this much of the art over with sound effects. You miss the rope still falling from his body and the scabbards still in the air from Zoro unsheating them so fast. This panel bypasses every critical neuron in my brain, and speaks to the primal, stupid lizard and monkey part of my man brain that goes "ooooh, three swords cool!" And nobody does that like Oda.

Chapter 7:

What are the best panels in One Piece?

Chapter 7 sees our first parting of ways, with Koby remaining behind to enlist in the Marines. It's mostly an exposition chapter, a cool down from all the action with Axe Hand Morgan, but Oda once again uses what could be boring exposition to do good character building. Because Luffy and Zoro are pirates, they can't stay in a navy town, and as they leave, Luffy begins to spill the beans on how Koby was a cabin boy for a pirate, which might ruin his chances to enlist. And Koby, desperately torn up about saying goodbye to his first real friend… punches Luffy to shut him up. Which then becomes evidence that Koby isn't with them, isn't a pirate, so he can enlist.

It's the first moment Koby fully asserts himself, it's the first punch he throws for his dream as a Marine, but it is also a moment of revelation. However simple-minded Luffy seems, so straightforward and oblivious, here he reveals a deep understanding not only of other people but of the things they need, the push they need to find their courage. He pushes Koby's buttons to force him to commit to his dream, to force him to renounce piracy, and when Koby does… Luffy couldn't be more proud. And maybe a little smug.

[pippin-katz]

One Shots in Red, White & Royal Blue - Part 1: Alex's Room

Modern movies are fucking obsessed with jump cuts. Even scenes where it is completely unnecessary get cut to shreds. There's films I've seen where one, single sentence line got three jump cuts in it.

After watching Red, White, & Royal Blue over ten times now, I’ve noticed so many moments where they could’ve made jump cuts, but didn’t. There were moments where I was expecting it to cut because of how used I am to other movies cutting the shit out of scenes. They did not do that here, and believe me, it makes a difference.

Cuts temporarily remind the viewer that they're watching something scripted, professionally filmed, and edited. It's a subconscious feeling that most people probably don't even notice.

In case you're unfamiliar, a one shot in film is when a sequence happens without any cuts. One of the benefits of using them is the believability they add. Any amount of time could've progressed between cuts, like if they film a scene on two different days. When you see everything happening in real time, it just feels more real.

Red, White, & Royal Blue balanced their editing and camerawork incredibly well, and utilized one shots way more than I see a lot of other films doing nowadays. They use it for a variety of scenes, and it's done very well.

Example No. 1

From this moment, where Henry enters the room:

GIF by taylorz-nicholasg

To Henry pushing Alex onto the couch:

GIF by sheisraging

To when the sequence ends:

GIF by gay-bucky-barnes

is ALL ONE SHOT.

There are no camera cuts during that sequence, and there's a significant amount of movement and activity going on.

They are obviously aggressively making out, and crossing the room at the same time. Tracking this part might be common, but when they get to the couch, and Henry pushes him, I got this gut feeling that a jump cut was about to happen, but it didn't.

Instead, the camera rotates around to that side perspective, and lets Henry come back into frame and onto the couch in real time.

GIF by sheisraging

The camera doesn't change position until Henry moves down, which could've been a cut to Alex's face, but they opted to zoom in on him, keeping the shot connected.

GIF by sheisraging

This is not a small series of events to capture in one shot, and it means that Nicholas and Taylor had to memorize and perform the entire scene's blocking as a whole rather than in parts. If they mess up, they can't just say: "hey try that line again"

A one shot scene like this means that if you mess up at any point during the sequence, you can't use the take. You have to do it again from the beginning. That's the point of a one shot.

I think it's such a testament to Taylor and Nicholas' talent, skill, and dedication that they did such a long shot involving so much intimate, and difficult, choreography.

Breaking it down, they have to kiss for the first part, but it's not just kissing; it's aggressive kissing. Their eyes are closed, and they're grabbing at each other, while crossing the room. Taylor has to walk backwards. They need to have really good spatial awareness in order to move without hitting something or tripping.

Once they hit the couch, Nicholas has to undo the buttons on Taylor's shirt. If you've ever worn a button-down shirt, you know that sometimes you just struggle with those damn buttons; there's a moment in Paris where they joke about them. Nick has to undo them fast, and deliver his lines too. If he's too slow with the buttons, or they get stuck, take ruined.

Nick has to shove Taylor onto the couch. He has to be visibly forceful, but not knock him down so hard he falls off the couch, or land in a way that make it difficult for him to shift into where he's supposed to be. Nick also has to climb around onto the couch fast enough.

Obviously once they're on the couch, the difficulty comes in that they are being intimate, kissing and grabbing each other, and they need to remain in character. Then they have lines, and Nicholas has to get even more intimate by kissing his neck. He undoes another button or two and kisses his chest and down his stomach, all while delivering his lines correctly.

If either of them messes up a line, or breaks character for a second, or loses their balance, or anything, go back to the start, do it all again.

That is so much, and the two of them nailed every part of it. I still admire how they were able to trust each other and become confident in doing all that they do.

This being a one shot created a really incredible scene. It's fluid, and grounded in space and time. It's not the only scene that's drastically improved by the fact that it's a one shot, so I'll probably write more essays breaking down those scenes cause this movie has me in a choke hold.

Update: If you enjoyed this essay & would like to support me, you can give me a tip on my Ko-Fi! ☺️

[snitchcrimsonwrites]

Maybe pt. 1

Pairing: Norm MacLean X Female Reader or OC (3rd person perspective because I dislike writing in 2nd )

Former friends to a relationship?

Life is pretty easy in Vault 33 until you're trying to rekindle a former friendship and raiders attack. Now, our main characters are trying to navigate newfound feelings all while undercovering the mysteries of Vault 33. Stay tuned. Follows the main storyline of season 1; some events may be reordered for plot.

I was feeling the lack of Fallout series fics and decided to contribute. Enjoy :)

Part 2 Here Part 7 Here Part 12 Here

Part 3 Here Part 8 Here

Part 4 Here Part 9 Here

Part 5 Here Part 10 Here

Part 6 Here Part 11 Here

Another day, another performance review. And this one was going as well as the others; his dad will be pleased when he hears about this one. 

Norm shifted uncomfortably in his chair as the proceeding council reviewed their notes. Betty Pearson. Woody Thomas. Reg McPhee. These people would decide if he stayed on this current “career” track of information maintenance or if he was to be demoted once again. Not that it mattered. He didn’t mind working; on the contrary, it gave it him something to do with his day, but every job was the same. Janitorial. Kitchen duty. All lacking purpose, significance, meaning. Yes, these daily tasks kept the Vault Dwellers in 33 alive, but they were anything but fulfilling. Was this all to life in the Vault?

Woody looks up from his paperwork and begins to speak, breaking Norm’s existential train of thought. 

“Are you aware that, at every job you’ve been assigned to, your performance review has been “lacks enthusiasm?” 

Norm smirks. “No, but that sounds accurate.” 

Woody seems taken aback by the retort. They always are; no matter how many witty jabs Norm throws their way, it’s always a surprise for them. He guesses because no one else in the vault interacts this way. It’s out of the norm, unexpected, and breaks the conventions for how conversations are “supposed” to go in the vault. You’re supposed to follow the script, but that’s tedious and exhausting. Breaking it is much more entertaining. 

The former Overseer, Betty Pearson, spoke up next. “We’re trying to work with you, Norm. Find your best fit, make you the best version of yourself. You’ve currently been working with Computers and Information maintenance. How do you like that?” 

Another smirk. “I lack enthusiasm.” 

Now, it’s Betty’s turn to react. Her neutral smile drops to a frown, and her eyes shift off Norm as she breathes out an “uh-huh.”She has to have realized it by now, right? She’s not a dumb woman, but she has to know these motivation tactics won’t work. Norm decides he’s going to have to spell it out. 

“It’s a predicament, isn’t it? How do you demote someone who equally dislikes every job he’s ever worked?” 

“I suppose it is.” 

—---------------------------

He’s not entirely sure if the council let him off easy or if an additional chance at his performance review next week was their attempt at an act of torture. Either way, it doesn’t change anything; it just delays the inevitable. That thought carried him through his lunch break and distracted him from his to-do list for the morning. Another piece of evidence for that performance review, he thinks. Norm sighs and stretches his arms before he stands to make his way through the expanse of corridors down to the main cafeteria, where he gets into the lunch line. The vault dwellers move forward one by one, slow and orderly, until he’s at the front of a stack of metal trays. He picks up a tray that is cool to the touch and reaches up to the counter to grab the plate from the cafeteria staff. He doesn’t even have to look down to know what’s on his plate; he already knows. Every Monday the same. A helping of overly processed cram, alongside the assorted corn and vegetables grown in the vault and a table all to himself.

Norm grabs his usual seat and digs in, oblivious to the fact that someone has been awaiting his arrival. Distracted from thoughts of this morning, he doesn’t even hear her approach the opposite side of his table. Lost in thought, he doesn’t look up until he hears her clear her throat and ask if she can join him. When he finally does, he is surprised to see the face staring back at him. (Y/FN, LN). Their eyes meet, and she poses the question again. 

“Mind if I join you?” 

“Uhh, no. Not at all. Go ahead.” Norm gestures to the open seat. When was the last time he and (Y/N) shared lunch? It was so long ago. It had to be while they were still in school, before graduation. When they would enjoy their short period of freedom between history and math lessons together, maybe it's been longer. Those moments before adulthood felt like a different lifetime ago. 

While Norm was ruminating on the past (Y/N) pops the tab on her can of purified drinking water and takes a short sip before saying, “I heard about your performance review.”

“Word travels quickly around here. I suppose you’re here to scold me?” Norm offers with a playful smile. The exchange feels familiar, even though it’s not one they’ve had in a while. Some part of him wishes that wasn’t the case, but it's easier this way. 

“The opposite, actually.” 

Now, he’s the one confused—what a rarity. His smile drops, and Norm is sure his confusion is written all over his face. 

(Y/N) continues, not meeting his gaze. “I just wanted to say that, well, Norm, your defiance streak lately was kind of a wake-up call about how I’ve been feeling for so long, but I couldn’t place. I’m so tired of playing a character I’m not; life’s too short for that.” She looks up and laughs slightly, trying to lighten the mood. “ Look, I don’t want this to be that deep, but I wanted you to know that someone else feels the same way and has your back if you need it. We don’t have to suffer the toxic positivity of Vault 33 alone.” She doesn’t give him time to respond. Satisfied (Y/N) gathers her belongings and rises from the table, stopping before she turns away to shoot Norm a raised fist, a symbolic gesture of their supposed defiant solidarity, and a “See you around, okay?”  

“Yeah, definitely.” He manages back as she walks away. Well, there goes any chance of completing today’s to-do list, Norm thinks as he lets his forehead fall to the table. 

--------------------

“Okay, let’s run through my application remarks one more time. I only have a couple more days to prepare,” Lucy says, shuffling her notecards at the family dinner table, in between bites of her Salisbury steak. “Alright, give it to us again. Norm and I will get our notes ready,” Hank responds, winking toward Norm.

Norm is only half listening; he’s heard Lucy’s marriage appeal for the Triennial Trade a half-dozen times. And her remarks don’t matter anyway. One, she’s the Overseer’s daughter, and the council would be nuts to deny her application request, and even if that weren’t the case; two, she’s basically the poster child for being raised in Vault 33. Checks every box. Everyone knows this except for Lucy. It’s a trait he admires in his sister: her humility. But he’s genuinely happy for his sister. At least someone is getting the life they want. 

While Norm was lost in thought for what felt like the millionth time today, Lucy and Hank had apparently finished their conversation regarding her remarks and since moved on to a different topic of dinner-time conversation. “So, I heard Norm had lunch with a girl today,” Lucy said playfully, emphasizing the word girl. Gaining Norm’s full attention as he shot daggers Lucy’s way. “There we go, Norm! Anyone I know?” Hank directed at Norm in a dad-joke-style attempt at humor. He’s the Overseer; of course, he knows her. 

“Uh, yeah. It was (Y/N).” 

“(Y/N). Lovely girl. Wasn’t she at the top of your class, Norm? Now, that would be a good match, especially since you two used to hang out so much as kids.” 

“It’s not like that; we were just talking about work.” 

“Uh-huh, “work.” Yeah, I get it,” Hank offers with another wink and a thumbs up. Earning an eye-roll from Norm and a chuckle from Lucy. “You forget that before I met your mother, I was quite an eligible bachelor in Vault 31.” “Please don’t,” Norm begged. “Fine, fine,” Hank resigned with his hands up, “but seriously, Norm, I haven’t seen that girl without a book in front of her face in a long time, and now, she’s chatting with you at lunch. That could be something.”

“Or it could be nothing; let’s drop this, please.” 

Once Hank’s attention shifted from his children to the remainder of his meal, Norm leaned in slowly towards Lucy and whispered, “Oh, by the way, I will be getting you back for that.” Lucy turned her body towards him and simply stuck out her tongue. Battle flags were raised, pistols at dawn.

[nataliescatorccioapologist]

Let’s talk about Nat’s makeup and how it represents her mental state and character development✨

Juliette Lewis said in an interview that Natalie’s signature thick black eyeliner is her “war paint.” I absolutely love this quote because it is a perfect way to describe the way Natalie uses her physical appearance to guard herself. Natalie’s eyeliner and fashion sense serve as a physical representation of the abrasive walls she puts up to hide the softness and vulnerability underneath.

The Pilot episode script introduces Natalie’s character with this descriptor:

This line makes it clear right off the bat that Nat’s makeup is a front she puts on; a mask. While most of her classmates may put on makeup to attract others, it’s clear that Nat’s makeup is meant to push people away. That dark, smudged eyeliner paired with the safety pin and bullet necklaces and the thick leather jackets are all screaming “I’m intimidating, stay away from me.”

But, unlike her appearance suggests, Nat is actually one of the softest and most compassionate characters on the show. Her trauma both with her father and out in the wilderness have shown her that she is a dangerous person, and that she needs to remain guarded and walled off from others in order to avoid hurting them. Her makeup hides her softness both for her own protection and the protection of those around her.

We see that Nat puts makeup on like armor. Before Doomcoming, she’s seen putting on black eyeshadow in the mirror right as Travis walks by, preparing to deal with all of the insecure feelings she still has around their breakup. In the Wilderness, Nat is pretty much never seen without makeup smudged around her eyes, despite the difficult circumstances. Even when she’s carrying Jackie’s body back to the plane you can see she’s got some eyeliner on. In the adult timeline after Travis’s death, Nat is seen putting on probably the heaviest makeup we’ve ever seen her in. Immediately after she puts this makeup on she texts her drug dealer with the intention to relapse. All of this shows that Nat’s makeup is her defense, which is why she goes to such great lengths to put it on even when she’s stranded out in the middle of nowhere.

It seems that the heavier Nat’s makeup is in a given scene, the more guarded, vulnerable, and/or threatened she feels.

Which is why it is so significant when Nat stops wearing heavy makeup after spending time at Lottie’s compound. When Nat first arrives, we see her clinging to her old forms of protection. She’s given some (purple) clothes to change into, but she rejects them in favor of staying in her black leather pants.

She keeps the thick eyeliner, too. That is, until she goes on her little adventure with Lisa to Lisa’s childhood home. After Nat processes her trauma around feeling like she is poison to the people she loves and has that great talk with Lisa in the bar, Nat notably changes her clothes and lightens up her makeup the next day. She is seen in a purple and navy sweater, but she still keeps her black leather pants on and her eyeliner is still there, albeit a little bit lighter, showing that she is starting to change almost in spite of herself.

Then, directly after the hypnosis scene with Lottie in which Nat finally begins to come to terms with and process her guilt, we see her in a purple dress and cozy Birkenstocks with socks. The thick eyeliner is gone and so is her tendency to push people away, as she readily embraces all of the other survivors as they arrive at the compound (even Misty). This is heartbreakingly the last outfit we ever see Nat in, but it shows the audience how much she has changed and forgiven herself in her final days.

I’ll leave you guys with this beautiful quote about Nat’s transformation:

“I wanted to show that Natalie became her soft self. I don't know how long that would have remained comfortable for her, but she liked it. She liked being clean. She liked being comfortable. She relinquished her eyeliner, which was her war paint.”

-Juliette Lewis for TheWrap Magazine