#lawrence who misses Adam so much that he spirals

[hymensmasher]

I'm relistening to a tear in the fabric of life and i feel like it could easily be applied to chainshipping

especially the last 3 songs

[deerabigailhobbs]

Just imagining Abigail meeting Lawrence. Adam has it all planned out, even cleaned the apartment up slightly so they could all sit and chat, he really wants Lawrence and his sister to get along. Lawrence comes over, introducing himself to Abigail who's apprehensive but trying to be friendly, and just when everyone is settled on the sofa, ready to watch a movie or something, Adam gets a call for a job which he totally forgot about. He rushes out, apologising to both his boyfriend and his sister for leaving, but promises he'll make it up to them.

So then that just leaves Abigail and Lawrence. Lawrence isn't exactly sure how to act, knowing that Abigail has gone through a hard time, but not knowing the specifics (Adam refuses to tell him because he's a good big brother), and Abigail is just shy in general, uncomfortable being around someone her dad's age again.

But soon they get to chatting, Lawrence talks about Diana, showing him a picture of her in his wallet to break the ice (something which worked with her brother), and she notices the little drawing peeking out from underneath. Lawrence tells her that Diana is quite the artist, although she much prefers drawing her favourite Pokémon than her family, like most 10 year old children do.

Abigail mentions that she also draws, mainly sketches of the outdoors and birds, her favourite animal. Lawrence politely asks if he can see the drawings, saying that Adam had mentioned that most of the time she was scratching along in her sketchbook. Abigail is hesitant, but agrees, grabbing the spiraled sketchbook covered in bird stickers and handing it to Lawrence with shaky hands, although Lawrence is heart-warmed when he realises she's shifted ever so slightly closer to him on the sofa, meaning that slowly, she's trusting him.

He flips open the sketchbook to wonderful black and white drawings of the outdoors. Lakes, deers, cliffs, and of course, many birds. He's amazed, saying how talented Abigail is, which flusters her. He hands the sketchbook back to her, to which she looks at, then looks at him. She breathes in deeply, lip quivering slightly, as she asks if she could maybe sketch Lawrence. She won't be a nuisance, he can watch TV while, and it's just well, she doesn't have a lot of experience drawing people, especially in profile so, y'know, it would be good practice is all. And it's ok if he says no, she won't mind.

And of course Lawrence says yes, turning on the TV to some random episode of The X Files while Abigail starts sketching away.

A few hours pass and Adam comes home, bumbling his way through the door, apologising loudly about how late it was, its the just the damn guy tried to sell him short of a whole $50 when they clearly agreed on $150 over the phone. And god, he was such an ass-

But Adam's rambling is cut short by a low "shhh" coming from the living room. He walks in to find Abigail asleep, head on Lawrence's shoulder as an episode of The X Files begins to play. He notices Abigail's sketchbook on one arm of the sofa, page open to a scratchy drawing of Lawrence, although it doesn't seem to be quite done, some of his hair is missing from the tops and the sides, and his eyes are still blank, but it makes Adam beam with delight.

He sits on the sofa on the other side of Lawrence as he tells Adam about his day, about Abigail and how he hopes that she trusts him, that she knows he only wants what's best for her, even if they have just met. And Adam, heart once again full with love, kisses him gently on the cheek and thanks him for being patient, saying how he's already gained so much of her trust in such little time, and apologising once again for running out on them last minute.

And soon Adam is also asleep on Lawrence's other shoulder, and he smiles to himself, looking at the two siblings and thinking, even after all their time separated, they're a lot like each other, and he hopes he can make them both happy.

[movieswithkevin27]

Mother!

Sheer cinematic insanity, Darren Aronofsky's Mother! is oddly reminiscent of Mike Nichols’ The Graduate. Renowned for its ability to make the audience feeling the claustrophobia experienced by Benjamin Braddock as his parents and their friends suffocate him following his college graduation, The Graduate seems to actually be a rather important influence on the style of Mother!. Nichols' tight camera work and the chaos of the scene with a home filled with strangers who all want a piece of Ben and just a bit of his time to ask what he plans for the future, brilliantly communicates the way in which Benjamin's mind is both literally and figuratively surrounded against its will. While Roman Polanski's Rosemary's Baby is certainly also an influence, the style of the camera and the grainy camera work as Mother (Jennifer Lawrence) wades through her home that is filled with strangers who are either killing one another or stealing brings about more similarities in execution to The Graduate, whereas the substance is deeply reminiscent of Rosemary's Baby. Marrying these two together to create an entirely terrifying, chilling, and unsettling experience, Aronofsky creates a film with a suffocating atmosphere that is impossible to truly enjoy, but is equally challenging to not come away thinking about..

Unraveling in a hallucinogenic and dream-like manner, Mother!'s insanity is what has made it so divisive with Aronofsky running into the night screaming like a mad man by throwing every cinematic taboo at the wall to see what sticks. While trying to rile people up a bit by depicting such horrific violence, Aronofsky introduces a lot of themes and ideas in the film that span from religion to art to the environment and more. Ambitious, bold, and often uncomfortable to sit through, Mother! is the kind of film that seemingly very few filmmakers are willing or able to make in today's age, but with the surrealist edge of a David Lynch in his back pocket, Aronofsky is able to make it work. A film that encourages study and is not as overt as many have argued - as that is just the second layer on the onion - mother! is the kind of daring cinema that is from a bygone era of filmmaking.

There are a multitude of explanations that can be used to decipher this puzzle of a film. The first is likely the most prominent and also the one that fits the most given the events of the film. This is the predominant Biblical explanation. With Jennifer Lawrence portraying Mother Earth, who gives life, love, and feeling to the world and expects nothing in return but the same feeling in return. Javier Bardem portrays God, who creates life in his study and gives meaning to the world through his poetry with references to Him having finished a book (Old Testament) prior to the start of the film with another (New Testament) coming out during the film. Creating life and welcoming it into his home - which is quite literally mother given how the home has a heartbeat and a pulse, with a similar looking heart to mother's - Adam (Ed Harris) and Eve (Michelle Pfeiffer) are the first harbingers of what is to come from humanity. Breaking what it not theirs, having sex on the couch, and otherwise being unwelcomed guests, they make themselves right at home with no intentions to leave. When their sons, Cain and Abel (Domhnall and Brian Gleeson) arrive with the eldest son killing his young brother over their father's will (greed), it is clear that things will only continue to spiral out of control. For mother, she takes the murder in her home personally with blood spilled on her dirt, seeping in her mind and inner being, deeply affecting her in a way that it seems nobody else seems to understand. As God releases the New Testament and his followers flock about to meet Him, the film takes a darker turn due to humanity.

Forgiving, loving, and welcoming everybody into his home, God encourages all of the followers to take whatever they want from His home, as it belongs to them as well as God has given humanity the world and all of its fruits. Unfortunately, people take this free-will and destiny too far, creating hellish violence (Kristen Wiig shooting people in the head), lack of faith (stealing from God's home to prove they were there), enslaving one another (the women in the bedroom), and horrific depictions of rage (fighting), anger, and contempt for one another. Humanity is given just a little bit, takes all of it and more, and then fights one another to ensure they are able to take what others have as well. In seeing this God, is horrified. Yet, he forgives them because he loves them. Thus, when mother gives birth to his son (Jesus), God gives him to the people because, in the end, he is their savior. He represents their chance to be good, free of sin, and saved in spite of their imperfection. However, the humans quickly take him, kill him, and then consume his flesh (Catholic ritual). Once more, they are forgiven with God willing to start again and give humanity another chance to prove themselves worthy of His love and generosity.

This rather upfront depiction is accompanied by small details - the Eden-like setting of the home, mother mentioning the "apocalypse" caused in the kitchen by their house guests, a frog hopping out of the basement passage way as a hint about plagues, and Bardem consistently calling himself a "creator" with his poem being visualized as bringing brimming green life to the world - that solidify the Biblical interpretation of this film as being one that most closely lines up with the actions of the film. Though a heightened, absurd, darkly comical, and hyper-stylized take on the Bible, Aronofsky's tale of blood, rage, and fire, is one etched in the pages of the Bible and brought to terrifying life by a filmmaker who wishes to show the truly horrifying actions of humanity. For both God and mother, they give so much only to see the humans take it all and demand more. They love the people, but are rejected repeatedly. To Aronofsky, God is a loving and forgiving in the face of the sheer insanity of the people that he gave everything to and was willing to give more. By the end, Aronofsky asks the filmmaker whether life is truly worth creating or if humans will simply continuously screw it up with our inherently sinful ways. With God having created life many times before - mother, in the film, is shown to have arisen at least three separate times with the first two ending in fire - it is clear that people have yet to understand that the world is horrifying and violent because of us and our bastardization of God's creation, not because of the forgiving God who created us in the first place. Though an atheist, it is clear that Aronofsky views God as not the one to blame for the world in which we find ourselves in with so much hatred and animosity, but humanity is to blame for taking such tranquil beauty and lighting it on fire with our own lighter (Ed Harris' lighter is used to light the fire) and our own blood (the blood in the barrel). In essence, people do not listen - see Michelle Pfeiffer grab a hot pan that mother just touched and burned herself on as well - and how is it the fault of God that humanity refuses to be taught and learn? Instead, all it does is burn, hate, and kill, spitting in the face of its creator for giving them free-will.

However, this Biblical angle is just part of the film. Him/God is nonetheless a creator or an artist/poet. For Him, creation takes up much of his time as he tries in vain to write another book only to quickly get inspiration and pump up his new book in no time at all. He is a creator, thus he creates. Unfortunately for Him, his work becomes incredibly popular to the degree that his work is worshiped and he is championed as a God-like figure to the people who read and love his work. Though Aronofsky plays up the God angle, he manages to show the struggle of the artist. He wants to be successful, but once he becomes successful, things take a turn for the worst. People show up out of the blue to kiss the ring, fans demand a follow-up putting added stress on Him, and once he does follow it up, he realizes that this second book is hardly enough to satisfy the desire of his fan base. Instead, he must cope with the fan base wanting more and taking everything he has to offer, all while misunderstanding and bastardizing his work in the process. For artists, the experience of sending their work (the baby) into the world, hoping that the public will accept and love what you have created is an experience that often ends in a similar fashion to how it does in Mother!. It is from here that Aronofsky blends this theme with the Biblical rhetoric to answer critics of his prior film, Noah.

A lightning rod for controversy due to his depiction of the story of Noah, Aronofsky's film was banned in many Muslim nations and many Christian writers blasted it with the religious community even citing it as the, "the least-biblical biblical film ever made." Shortly after Noah came out, Aronofsky was set to make a children's film only to then pump out the script for Mother! in five days. Given the short turnaround and the major change in focus for Aronofsky, it is clear that Mother! is a film he was greatly inspired to make. Fashioned as a response to those who critiqued his depiction of Biblical stories in the last film, Aronofsky aims to avoid any misunderstanding. Not only are the stories of God constantly altered and misunderstood by those who profess to believe in Him, but to find issue in specific events depicted in the film or the characterization of God as violent is to miss the point of even the Bible itself and the process of creation. As an artist, liberties are often taken to tell a better story. These stories are not set in stone, nor is the story of Noah one that is solely Biblical. Rather, it can be altered to communicate the vision and message that the director wishes to communicate. However, to find issue with the portrayal of God is to simply miss the point of the Bible. It is a violent book, yet is often shown as being a book of inspiration and hope. While both are certainly true, the former is often forgotten by believers in favor of the latter. This was demonstrated by critics of Noah who argued that God was shown as being an angry and cruel God. In Mother!, Aronofsky shows a God who has thrown out the violent ways of the Old Testament in favor of a more forgiving nature in the New Testament. Locking up plagues he unleashed on the world in a sealed off storage space in the basement, he forgives every intrusion and sin committed in mother!, no matter how egregious. And how is he repaid? In violence, of course. Mother! shows the anger and cruelty of humanity. We see Cain and Abel fight, ending in blood being spilled. We see the believers rejoice and reject Jesus with horrifying gore. We see Adam and Eve sleep with one another, with Eve offering tips on seduction before seducing her husband later on. People doubt he will return and express surprise when he has not “forsaken” them (reminiscent of the doubt expressed in Exodus as the Hebrews spend 40-years in the desert, see Moses split the Red Sea, and yet still doubt). Humanity is the violent one who does not believe fully in God. Yet, he loves them and forgives them no matter what. To view God in Noah or even the Old Testament as a violent or evil being is to miss the point. It is humanity who has erred leading to its being wiped out, not God for giving them the world and having his gift refused in favor of blood, lust, and sin. Humanity is the one who takes this gift of life, spits on it, and throws it back into the face of God and assume they will not be rebuked for their heinous behavior. Yet, having realized that critics of Noah could not see this - due to their own blindness to the more violent tendencies of God - Aronofsky decided to switch his approach. Rather than passively showing the violence of humanity as in Noah, he brought it to the forefront in mother!, showcasing the horrifying behavior of people and the spiteful attitude to their creator.

Thus, in mother!, Aronofsky wishes to show that humanity is the one who receives the God they deserve, which is a violent one as in the Old Testament. To him, it is clear that any violence committed by God is deserved by this violent and wicked creation he brought forth. At worst, he wishes to show Him as a bit delusional for believing that, at their core, people are good. As Bardem's Him constantly forgives the guests in spite of Mother's panicked pleas to kick them out, the audience is left befuddled. How can he continue to forgive these people after everything they have done? Thus, Aronofsky's depiction of God's grace and forgiveness to a fault is one that scorns humanity, not God. If anybody is the antagonist in this film, it is humanity and the same goes for Noah. It is violence that begets violence, thus a violent people begets a violent God. For the world of the film, it is humanity who has brought violence and destruction to this home (mother/Mother Earth). God, meanwhile, is just the welcoming host who is willing to go the extra mile to ensure their comfort at all times. It is in this sympathetic portrayal that Aronofsky responds to his critics. Having previously shown humanity responding to the challenges of God and being wiped out, Aronofsky now - effectively - shows what led up to these events. We see the horror and feel the pain experienced by God and the Earth and, in experiencing this first-hand in mother!, we gain sympathy for his rage and anger towards humanity that would demand a full-scale restart of the world as in Noah, while simultaneously wondering why he would not do the same again to save the Earth now. In the end, it is not an act of evil, but rather an act of love and the hope that, if given another chance, humanity will be able to love and not express hate, greed, rage, lust, or pride. He is not an evil God, but rather one whose love and willingness to forgive is such that He is willing to overlook the horrors of humanity. To Aronofsky, it is not a matter of God being evil for letting the Earth suffer or more, but rather a question as to how God could allow humanity to commit such heinous acts when humanity has shown itself to be nothing but unappreciative of the gifts it receives.

From this blending of artistic license and the Biblical reading of the film, Aronofsky uses the film as a plea for the environment. Upon the arrival of humanity, people begin polluting - Ed Harris' smoking - and people begin fighting which leads to blood being spilled on her. By the end, people refuse to change their ways and continue to live their life as they wish, constantly demanding more from the Earth whereas she has nothing more to give. As they eat every fruit she bears and leech onto her like parasites, there is no recourse left for the Earth but to burn itself (climate change) and take the people who raped her along with her into the grave. It is the mission of this film to beg God to answer why he allows the Earth to be polluted and scorched by an undeserving world. It shows the beauty of his work and stunning brilliance of the world surrounding the home, and openly wonders why it must be polluted by humans who will not appreciate this gift. It is a film begging for the apocalypse to come, so that the Earth may be saved and humanity will be forced to reckon with the damage they caused to the greatest gift they could have received from their creator.

It is for the interpretations laid out above that, once more, I come away believing that Aronofsky’s work is some of the best religious-based cinema in recent years. As he is an atheist, many immediately accuse him of not understanding the Bible, hating God, or hating Christians. On the surface, it is hard to not see how many come away feeling this way. However, as a Christian myself, Aronofsky’s films are hardly that easy to pin down. Rather, he displays a great reverence for God in mother! and in many of his other films. The only animosity he holds is for those who have taken what He created and messed it all up with violence, sin, and anger. When given the Garden of Eden, man was unsatisfied and gave into temptation. Aronofsky’s rage, therefore, is aimed at humanity for behaving in the way that it has throughout human history. His reading of the Bible is not one that shows scorn for the Biblical text, but one that is honest and shows the sinful, violent ways of humanity and the unrelenting forgiveness offered by God in the face of all of this violence. He knows this film is horrifying and a tough pill to swallow, as few want to admit that it is humanity that is burning the Earth and throwing the gifts we receive back in God’s face. We beg Him to kick out the guests in the film and side with the mother and her confusion as to why Him continues to allow them to stay in their home. For Aronofsky, his only pursuit is not critique religion, but rather to use his film as a wake-up call for why we want the “guests” (humans) kicked out in the film, but do not want the same in reality. It is we who are the heinous, sex-crazed, violent, and disrespectful guests. When will we wake up and do something about it? Or, will we have to wait for God to just destroy us and start over again?

In watching mother!, it is hard to not think about the theories of Laura Mulvey regarding sexism in film. In her book Visual Pleasure and Narrative Cinema, Mulvey describes multiple elements that factor into mother!. For one, the male gaze. The male gaze applies to the camera, the audience, and the actors on the set, who objectifying the female characters and use her for their own visual stimulation. In mother!, this is very much the case with the camera following around Jennifer Lawrence like a dog in heat as she walks around the home in a see-through nightgown. Highlighting her behind at all times with Lawrence walking around seemingly on tippy-toes to accentuate her bottom, the camera repeatedly sexualizes and objectifies Lawrence as she walks around the home. Later, characters do the same to her with men hitting on her and women calling attention to the revealing clothing that she is wearing. The characters treat her as a piece of furniture, looking to Him as the owner and maker of the home and mother as merely an accessory that comes along with the home. As the film plays out, it becomes more apparent that, once more, the film aligns with the theory of Mulvey in how characterizes mother. Not only is she stripped while being called a cunt and a bitch in the film's climax, but she plays two roles in the film: that of child-rearer and that of castrator. The former is more apparent with her giving birth of a child. The latter ties into the yellow powder consumed by mother until she finally sleeps with Him. Many critics have cited it as a reference to the short story The Yellow Wallpaper, in which a woman's husband keeps her captive in a home tells her she is psychotic. Descending into madness, she becomes obsessed with the yellow wallpaper and the belief that there are women who live in her walls. Given mother's obsession with painting the home and her constantly feeling the walls to reveal a heartbeat, it certainly makes sense. However, this also can tie into her role as "castrator" as defined by Mulvey. Though she does not literally take away Him's manhood by any means, she nonetheless stops drinking this yellow powder immediately after finally sleeping with her husband and becoming pregnant. Right after he finally does it, she goes to the bathroom and dumps out the powder. Later, as he becomes more and more unruly, she runs to go find the powder again only to see there is none left. From there, she further loses power as Him and his followers began to overpower her. In essence, it seems as though the powder was her source of strength that gave her some sort of dominion over Him that allowed her to keep Him in check by making her a more power being that He was. As a result, by losing it and thus losing this hold over Him, she loses her power in the relationship. By the end of the film, as in Mulvey's text, mother is punished for merely being a woman as she is attacked, thrown on the ground, loses her baby, and has her heart ripped out. As a result, it is easy to see how mother! lines up with the theories of Mulvey with mother being a woman who is constantly belittled and the behest of men in the film, all while the male gaze derives scopophilic pleasure from her. While Aronofsky may claim that his film is feminist, it is certainly not feminist and is rather quite sexist. Though not a take-down of the film by any means, it does demonstrate a shortcoming if Aronofsky's stated goal was to make a feminist work (and given the reference to the feminist short story The Yellow Wallpaper, it is more than likely was his intent).

Beyond the interpretations offered by the film, Mother! is nothing less than an exquisite visual extravaganza. Not only does Aronofsky capture the dreamlike aesthetic beautifully with the plot unraveling in such a way that it seems to spin naturally, but chaotically out of control right before our eyes, but the grainy 16mm film serves as the perfect platter for the film to be served on. Old school, textured, and presenting a rough surface, this grainy film stock serves to counter the beauty of the pristine locale found outside the home. While the home may be Eden, the camera captures the darkness of the home and gives this great haunted house vibe that makes it all seem so unnatural and horrifying. The camera gives this rough edge to the film that makes it simultaneously appealing to watch but hard to watch with how coarse and dense the film is on the surface.

In terms of the acting in the film, the passionate, frantic, and terrified performance given by Jennifer Lawrence perfectly accompanies the feeling instilled by Aronofsky. She is bewildered as her home is turned into the setting for a hellish descent into humanity-driven chaos. As an audience surrogate, we feel her confusion as the lens through which she sees the world is irrevocably shattered. Her raw performance in which she is constantly moving about the house with a tracking shot following her every move gives the film this kinetic edge that gives the film the traction it needs to unravel at the pace at which it does. There is hardly a moment to breathe with this suffocating atmosphere and this is brilliantly portrayed by Lawrence who seems to never be able to catch her breath and slow down as her world crumbles. Alongside her, Javier Bardem is brilliant as are Ed Harris, Michelle Pfeiffer, and Domhnall Gleeson. Together, all three give the film the sordid and violent tendencies it needs to instill the fear and horror that Aronofsky wishes to conjure up in mother!.

Once, when asked what his film The Fountain meant, director Darren Aronofsky responded that the film was akin to a rubik's cube. There are many different ways to solve it, but only one correct answer. In having seen The Fountain multiple times, counting it as my second favorite film of all-time, and citing it as a film that truly changed my point of view on death, I am not sure I can totally agree. The Fountain, much like Mother!, is a film that can be solved in many different ways, yes, but is not like rubik's cube at all. Rather, they are both vastly different things and mean a variety of things to whoever sees the film. There is no one correct answer to a film such as this, rather a variety of them and, as with beauty, this meaning is in the eye of the beholder. This malleable, gorgeous, chaotic, and truly brilliant film, is easily a return to form for Aronofsky who took a step back with Noah. Here, his unique, terrifying, and truly claustrophobic work, stands as one of the divisive films to ever be released and even in praising it and writing about it, my own thoughts are hardly clear. Is this a work of a master? Is this a work of a hack? Somewhere in between may truly be the answer, but as it stands, there are few films that elicit such violently different thoughts upon watching and for that alone, mother! is a film that, though undeniably influenced by a bevy of films, is one that feels wholly unique and ambitious. For that, it is hard for me to come away feeling anything but greatly positive, even if unclear, about mother!.

[scrapyardboyfriends]

1 August 2017

[Outside The Cafe with Robert and Victoria with background cameos from Aaron and Adam]

ROBERT: So...my life post Aaron is really sad. I’m stuck in a room with no natural light and the fans love my face in natural light. Boxes would be insulted by this box room.

VICTORIA: *Enjoying the end of my brother’s marriage far too much Face*

ROBERT: Oh and I have to deal with Eric Pollard! *Does a bang on impression of Pollard* #GetThisManAComedyPlot

*Aaron and Adam are walking by at the speed of the Plot*

VICTORIA: The Plot would like me to remind you that staying at the B&B is going to cost you a fortune.

ROBERT: And apparently the Plot would like me to forget that I have a small fortune in the bank. You’re right, the B&B is not cheap. I didn’t really sleep either. I don’t do well when I’m not cuddled up with Aaron. #AreWeBackTogetherYet

VICTORIA: Yeah...break ups are so hard...I mean look at me, I’m clearly suffering over Adam...really...I swear

ROBERT: Yeah...that’s not convincing at all. Me on the other hand...I’m actually suffering. I just have to figure out what the Plot wants me to do now.

*Aaron and Adam are still walking by at the speed of the Plot*

VICTORIA: Well it’s obvious! You should totally move in with us, that’s right, me and Rebecca, the woman you slept with and knocked up to create this impossible situation that caused this whole break up in the first place!

ROBERT: *Eyes wide* *But Aaron’s within earshot Face* Vic!

VICTORIA: *Looks over and sees Aaron and Adam finally heading into the cafe* So what?! Can’t imagine why what I’ve said is possibly a problem?!

ROBERT: Are you kidding me? That’s hardly the most sensitive thing for him to hear! He’s been a victim to this Plot long enough, let’s not make him suffer more.

VICTORIA: If anyone’s been a victim to this Plot it’s me! That’s actually what Vic is short for these days, ‘Victim’ not ‘Victoria’. I mean, apparently, I “Captain of your Ship” as the fans say, don’t care anymore, cause you’re over, right? Now none of that matters. We can just put him in a box with Adam and forget they both exist.

ROBERT: This would be me effectively moving in with Rebecca, who as you pointed out is the entire reason that this depressing stage of the Plot exists...well her and a whole bunch of unresolved issues from before we even got together properly that we never dealt with because we rushed into things even though we were ‘taking it slow’. But I digress. Me moving in with HER is probably going to make him spiral more! I don’t want to be responsible for anymore of his pain via the Plot. Like I said, he’s been through enough. So what then?!

VICTIM: Well there are lots of other people who can deal with that now. He’s got that husband of mine I pretend to care about when you’re sad about yours and you know sometimes his family actually remember he exists. Robert, Robert, Robert, I thought you got the memo that you’re self serving. You’re really dropping the ball on that character trait you’ve had since birth with this whole ‘caring’ act of yours. Get with the program! Drink the Kool-Aid! I did. It was great...it was Plot flavored.

ROBERT: *What has the Plot done to you Face*

[The Cafe with Robert, Victim, Aaron and Adam]

ADAM: Cheers Bob! *Grabs coffee*

BOB: No! Come back! I want to be in Plotdale again!

*Aaron and Adam walking out as Robert and Victim are walking in*

ROBERT: *Hobble Hobble Hobble* Aaron! You were in convenient earshot while Vic and I were discussing the Plot.

AARON: *I’m deaf to your Plot now I’ve got my own Face*

ADAM: What he said with his scowly face thing! We’ve got better things to be doing than listening to you go on about your Plot!

ROBERT: Yeah, but the Plot wants us to discuss this, I’m sure of it.

AARON: Well go on then, for old time’s sake.

ROBERT: I just wanted to let you know that I would never ever ever move in with Rebecca. Not even for the Plot. #PlotResistance

AARON: *Walls Up* Why do I care where the Plot wants you to live Robert? You need somewhere to go and Vic’s is convenient. I notice the Plot has forgotten all about your secret money again. Funny that. Come on Ad, we should get back to our Plot.

ROBERT: Adam wait! I don’t care what Vic or that other guy says, I don’t want to be self serving. I’m still going to care more about Aaron’s happiness and well being than my own for as long as the Plot will allow it. So...he’s gonna be alright, yeah?

ADAM: Of course, I’m an awesome Aaron Sitter. It’s what best mates are for and he’s got me for another six months. Man, I really hope this Plot is over by then… #Relatable

*Adam leaves*

ROBERT: *I hate this Plot Face*

VICTIM: Seems like a green light to me to move in with me and the Problem!

ROBERT: Yeah...it did. Damn… *I fucking hate this Plot Face* #AreWeBackTogetherYet

[The Woolpack with Aaron, Adam and Charity]

AARON: You’re really bringing this up again? You were the one going on yesterday about everyone repeating Plot Points.

ADAM: Yeah, well you’ve not said anything all morning...cause, you know, normally you’re a real chatterbox.

AARON: There’s nothing to say mate. It’s Plot. It is what it is. Obviously since the Plot forgot about his money again, he can’t stay at the B&B forever. He also can’t get a new place since he has to stay in the village so we can keep having awkward run ins. So Plot logic says that he has to move in with Vic. I’m sure there’s some extra bit of Plot that will come later that this is all a setup for.

ADAM: And you’re okay with that? Him...moving in with Rebecca? Cause none of this makes sense Bro!

AARON: Look, Ad, I’m trying really hard not to care okay. Detachment is key. If I pretend not to care, it can’t hurt me. So, I don’t care either way. Honestly! You’re taking this whole thing harder than I am!

ADAM: *Me and the fans Face* The fans and I just want to know you’re alright.

AARON: You mean am I going to hurt myself? No, I’m not. I know it’s what the Plot always reverts back to but I think, maybe, it might actually get a little better this time. But if it makes you and the fans feel better, let me just establish that I still have that counselor and I’ll talk to her. Now...shut up about Robert’s Plot already.

ADAM: Sorry, no more Hell Plot Talk.

AARON: You want another beer before I run off shiftily.

ADAM: Sorry, where are you going?

AARON: Well Uncle Zak finally remembered I existed so I’m going to go meet him. Business stuff. We’ll probably have a catch up considering I haven’t seen him since my wedding.

ADAM: Yeah go on...get another round in.

AARON: Charity! Get Adam a half pint and I’ll have an orange juice.

CHARITY: I’m sorry, what? Who are you and what did the Plot do with Aaron Dingle?

ADAM: Yeah that’s what I’ve been wondering…

AARON: *Nope not letting my chill exterior crumble yet Face*

[Outside The Cafe with Adam, Pete, Belle and Bob...oh and Rebecca blinking in the foreground]

PETE: My mum hates everyone and is going to flip out when she hears I’m engaged to Leyla.

ADAM: Yeah your mum is kind of a nutjob, but hey thanks for confiding in me. Now that Aaron needs me for his Plot, I get to have screen time with other characters too since I’m already in the episode. It’s pretty great. Anyway, you’ve got time to figure out how to tell her haven’t you? Isn’t she off communing with god or summat?

BELLE: Hi I’m taking my turn as a Plot Device today and I wanted to let you and anyone who happens to be listening that I saw Emma go into Laurel’s earlier.

BOB: *Ooh you mentioned the Plot I’m in Face*

ADAM: Oh well you better figure out how to tell her quick then...or you could avoid your Plot and come hang out with me and Aaron...if I knew where he was that is? I’m failing at being an Aaron Sitter already. Hey Belle, wanna help me with my Plot too?

BELLE: Yeah, but first, can I have a tea Bob?

BOB: Sure, but first I have to run off and deal with my Plot which sucks because I was almost close to being relevant in this Plotdale.

BELLE: Oh...well okay. So, yeah Adam, I saw Aaron up at Wishing Well but well I didn’t pay much attention. Don’t want to get involved in anyone else’s Plot in a serious way. I’ve got enough problems of my own since my Plot decided that I should try and have a relationship with Lachlan of all people. Ugh. #LetSerialKillerLachlanRise

ADAM: *Looks up ‘Aaron Sitting for Dummies’ on his phone* *I used to be better at this Face*

[Home Farm with Lawrence and Rebecca]

*Blah Blah Blah Lawrence is a lying liar who lies and can’t tell the truth to save his life or his relationship so Ronnie left him. If you missed it cause you only watch Robron scenes, just go back and watch the scene where Aaron leaves for Ireland because that’s basically what the Lawrence and Ronnie break up scene was like...except with white hair and more yelling*

REBECCA: The best piece of advice you ever gave me, dad, was to never give up and never stop fighting. It’s why I kept trying my hardest to break up Robert and Aaron cause I wanted Robert back for myself, despite the fact that he apparently used me multiple times. Of course now that I’ve succeeded the Plot won’t let me be happy about it. The thoughts the Plot puts it my head are really confusing sometimes.

*Blah Blah Blah to continue the Lawrence and Robert comparison, Lawrence then proceeds to go do some heartbroken dancing, which results in injury and a trip to the hospital #Dejavu*

[Wishing Well with Adam, Zak and Sweaty Boxing Aaron]

ADAM: *To Aaron’s voicemail* Come on Aaron! I need my drinking buddy! What’s the point of this Plot if it’s not to hang out all the time? *Hears sounds coming from the barn he’s conveniently standing next to* *Goes inside to see Sweaty Boxing Aaron* *Less appreciative than the fans* (FANDOM: And oh do we appreciate!)

SWEATY BOXING AARON: *Punch Punch Punch*

ZAK: Hey we need to ease up, lad!

SWEATY BOXING AARON: *Punch Punch Punch* - If I ease up I might lose my chill. Can’t have that. Robert is moving in with Rebecca for Plot reasons and I have some aggression to work out - *Punch Punch Punch*

ZAK: You need to ease up so you can have a chat with Adam.

SWEATY BOXING AARON: *Punch...punch……...punch*

ZAK: Nothing wrong with–

SWEATY BOXING AARON: *Punch*

ZAK: *Gets hit by bag* –letting off a bit of steam!

ADAM: *What Plot did I walk in on Face*

SWEATY BOXING AARON: As far as I can tell, it’s a boxing Plot. I mean, I know there were sources that said it had never been done before and I totally had a punch bag in the garage the first time I had a Self Harming Plot, but maybe there’s something we’re missing.

ADAM: You sure this isn’t just another way of self harming? I mean, the second time you had one of these Plots it was running? So...you never know.

SWEATY BOXING AARON: I feel pretty confident that I’m gonna be fine. I mean *Punch* I can’t stop *Punch* punching this bag even though I’m having a conversation with you *Punch* so I could be wrong but *Punch* for now *Punch* I’m just imagining that this *Punch* is *Punch* Plotbert *Punch* and Plotbecca *Punch* and their whole stupid Plot *Punch* that I’m thankful *Punch* that I’m not a part of anymore *Punch* So stop worrying.

ADAM: *Worrying*