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pricelessemotion · 1 year ago

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poltergeists for sidekicks | E.M.

summary: [2.3k] the kids drag eddie to the halloween store where you happen to work.

pairing: eddie munson x fem!reader

warnings: fluff, pining, eddie being a lovestruck idiot, r wears big prescription glasses and is described as having messy hair

a/n: happy halloween! here’s something i’ve been working on for ages just in time for the end of spooky szn! xoxo

masterlist

Eddie doesn’t hate Halloween.

He used to love Halloween. He likes autumn. He likes watching the leaves change colors. He can appreciate the novelty of a hot apple cider and a hay ride. Hell, ever since he was old enough to go trick or treating, he reveled in it. Free candy and all he had to do was put on a costume and say three magic words? Sign him up.

As he got older, he started to like Halloween for a slightly different reason. Don’t get him wrong, he still liked the free candy, but he liked the excuse to be someone else for a night. He liked how he could throw on a Michael Meyers mask and go door-to-door and be greeted with glee and sweets.

It does a funny thing to a kid’s self-esteem, being treated better when he’s wearing the face of a fictional serial killer.

Now, though, Eddie Munson is decidedly too old for trick or treating. He’s resigned himself to spending the holiday like it was any other day by spending the night in his room, playing guitar, and coming up with new campaign ideas.

Which is exactly what he was doing when three freshmen started pounding down the door of the trailer demanding entry. Within moments, they are practically on their hands and knees asking, nay begging, for the older boy to take them to get last-minute Halloween costumes.

“Aren’t you guys too old to go trick or treating?”

“This is why we need to go to the store! If we wear masks, no one will be able to tell how old we are, hence extending our years of candy collecting.” Dustin explains, matter of factly.

Eddie sighs, leaning back into the sofa, steepling his fingers together. “What’s in it for me?”

The three boys huddle together, conspiring in a manner that is not dissimilar to the way they plan their counterstrikes during Hellfire. They nod in sync, turning around so that Lucas is standing front and center, flanked by the two other boys.

“That one girl you like is working there.”

Eddie remains stone-faced, quipping sarcastically, “That’s very specific.”

Mike lets out an exasperated groan, threading his fingers through his hair before yanking at the ends in frustration. “Y’know, the weird one. Coke bottle glasses, messy hair, always holding a book?”

Lucas’ eyes widen. Dustin smacks Mike on the chest and the hollow sound rings out through the empty trailer. They all start talking over each other, with two of them berating the third for A. being insensitive and B. expecting a good outcome from said insensitivity.

Eddie wants to make a comment that your hair is not messy, it’s actually more voluminous. Besides, his hair is messy and he likes to think it makes him look badass. The glasses comment was a little unfair. Sure, the frames are a similar shade to the iconic green of the bottles of Coca-Cola. But the magnification was endearing, leaning more towards doe-eyed than bug. Unfortunately, Eddie did not consider that while he was observing you, someone might’ve been observing him.

The assurance of your presence is how Eddie ends up here, parked outside of a hardware store turned seasonal shop. He’s helping his friends. He’s supporting a local business and therefore contributing to the local economy! You being here is just a bonus.

A bell rings above them as he swings open the door, the motion setting off a scratchy pre-recorded cackle. He’s gotta hand it to whoever is running the store. They’ve gone out of their way to transform the dingy overhead fluorescents and worn-out linoleum into something that actually resembles an eerie boutique.

“Welcome in! I’ll be right witch you!” Your voice lilts out from the depths.

You appear out of the darkness, expertly weaving under fake cobwebs and pushing aside fanciful drapes that have no doubt been strung up precariously around the store to add to the ambiance. You’ve got a witch’s hat on, tall and black and pointy, which further explains the pun you greeted them with.

“How can I help you?” You smile brightly, adjusting your glasses.

The younger boys barely spare you a glance, just a chorus of we’re good! before running off to the other side of the store, where all of the costumes are located.

You barely blink at their rudeness. Whether that’s indicative of your experience in customer service or due to your generally sunny disposition, Eddie isn’t sure. You turn your smile and magnified gaze at him, “What about you?”

Eddie startles only slightly. He begins to peek over his shoulder as if there’s somebody else in the mostly deserted store that you could be talking to. What about him?

“Oh, I don’t need anything. I just came here with–” He gestures vaguely in the direction that the boys wandered off to. “The little shits that left me in the dust.”

You bark out a laugh, a small smile settling on your lips. “It’s sweet of you to help them out.”

Eddie only blushes in response, murmuring a quiet it’s nothing, scratching the back of his neck like he might find a switch that’ll make him remember how to talk like a normal human being.

“Well, if you change your mind, let me know.”

You pick up a clipboard and a pen and start leisurely strolling down the decor aisle, making inconsequential markings on the paper. Whenever you come across gaps in the shelves you reach back into them, pulling the products to the front edge with a concentration that is quite adorable.

He’s definitely staring by now. Feigning interest in a skull-shaped candy bowl, Eddie scrambles for something, anything to keep the conversation going. “I’m surprised you’re not busier.”

“You just missed the afternoon rush.” You say, straightening a pair of plastic tarantulas that have gone askew. “Not too many people came today, though. I guess they realized that it’s so close to the holiday that the shelves would be picked over.”

“Really?”

You shrug, “I think by October 30th, most people figure if they’re gonna dress up, they’d rather just pull together something from their closets than spend money. We’re actually busier the day after Halloween because everything gets marked down and people want cheap candy.”

“Makes sense.” He nods. “So, I take it you’re a big fan of Halloween?”

Your smile is apprehensive as if you’re not sure if he’s making fun of you. Your fingers brush the brim of the witch’s hat. “What gave me away?”

He falls into step beside you, clasping his hands behind his back and puffing out his chest. “I just had a feeling.” Then, feeling much braver than usual, he adds, “I like your outfit.”

You look at him again, clutching the clipboard to your chest. For once, your eyes are leaning more towards bug-eyed. The black velvet dress has draped sleeves and a skirt that swishes with every step. Orange and black striped tights protect your legs from the inevitable chill that comes with October in Indiana. “You do?”

“I do.” He insists, “It totally adds to the magical vibe. If you told me that you were an actual witch and this was just something you do to pass the time I’d one hundred percent believe you.”

All apprehension has slipped off your face, replaced by a genuine smile that cracks open his chest. “Thanks…” You trail off.

“Eddie.” He supplies.

“Well thank you, Eddie. I’d tell you my name but I’m guessing I don’t have to.” You say, rubbing the plastic name plate on your chest.

Eddie does know your name, but it isn’t because of your name tag. He was far too proud to ask around for your name, and far too afraid of rejection to ask you himself. He’d been lucky enough to get a library book right after you. He’d pulled the weathered paper from the slip, seen your name at the bottom of the checkout card, traced the loopy letters with the pad of his fingers. It had definitely been more than a little pathetic.

Eddie coughs, clearing his throat, trying to maintain any semblance of nonchalance. “Do you have any plans for Halloween?”

Your face slowly lifts from the clipboard, twirling your pen between swift fingers polished in a deep burgundy. Directing your gaze at him, you peer through dark lashes and Eddie’s never been more thankful for the inventor of coke bottle glasses. The magnification allows him to see the spark of intrigue dancing across your pupils.

“I was just gonna stay home. Maybe help my mom pass out candy.” The implication of the last sentence seems to hit you. You look down again, scrunching up your nose. Eddie finds it endearing how your first instinct is honesty rather than anything else.

“Cool. That’s cool,” Eddie says in a manner that is decidedly uncool. He fiddles with his rings before shoving his hands into his pockets. “Actually, I was wondering if—”

Suddenly, Eddie feels stupid for getting lost in your eyes and not paying attention to his surroundings. Maybe then he would’ve noticed how the linoleum got ever so slightly softer under the soles of worn-out boots. He would’ve seen the cloaked figure looming in the alcove, waiting for some unwitting soul to step on the pressure plate.

Unfortunately, Eddie did not see any of those things. The poltergeist, or ghost, or whatever the fuck it is swings out. He stumbles backward, releasing a shriek that is so high-pitched, that he wonders if he should start tapping into his upper range. Maybe it would add more texture to Corroded Coffin’s Tuesday night sets.

Instinctively, his arms fly backward, as if to protect you. He stumbles right into you, and he’s sure that if you didn’t grab his waist from behind, you would’ve fallen right over. Unfortunately, the movement has both of you careening back into a shelf, sending bags of overpriced candy and shitty Halloween decorations tumbling to the ground in a cascade of all things creepy and corny. He quickly spins around.

“Shit, are you–”

“I’m so sorry!”

“I should’ve warned you–”

At that moment, chests heaving and hearts racing, you both seem to realize that your hands are still grazing Eddie’s waist. You spring apart, scrambling to clean up the display, haphazardly grabbing the fallen items and placing them back in their rightful places on the shelves. Among them is your hat, another casualty of the calamity.

“I should’ve warned you,” You say again, slightly out of breath. “That thing nearly scares me to death every other day.”

“It’s fine. I should’ve paid attention to where I was walking. It just added to the whole spooktacular experience.” He picks up the hat from the floor, dusting it off. “I think this belongs to you.”

You give a bashful smile, but instead of putting the accessory in your outstretched hand, he gingerly places it on top of your head. Your glasses have slid down your nose from bending over to clean up his mess, and his thumbs gently push the joints of the frames until they’re sitting in their rightful place.

“There,” He punctuates his statement with a resolute tug on your hat, making sure it’s securely on your head. “Perfect.”

You preen at him, eyes sparkling, before you cast them down at the floor. Dustin comes running around the corner, closely followed by Mike and Lucas. All of them are carrying armfuls of miscellaneous Halloween supplies, obviously alarmed at the clamor, but not alarmed enough that they didn’t take their sweet time coming from the opposite end of the store. Eddie takes advantage of your bashfulness and distinctly shoots them a look that says get the hell out of here. Dustin’s eyes dart between the two of you before they widen and his mouth forms a small oh. He sends Eddie an exaggerated wink, walking backward in order to not interrupt the private moment, dragging his two friends along with him.

“Thanks,” You smile at him. “For protecting me. I know who to bring with me if I ever want to walk through a haunted house.”

He gives a lopsided grin, “My pleasure.”

“Ahem.” You clear your throat, “Anyways, what are your plans for Halloween?”

This is it. This is the moment that Eddie has been waiting for since he put down his guitar and his notebook and opened the trailer door.

“That depends.” He clasps his hands behind his back, jutting his chin up in the air. “Are you working tomorrow?”

“I get off at four.”

“The Hawk is doing this continuous horror movie marathon. Maybe you would want to go?” Eddie’s fingers are practically vibrating with excitement. He nearly forgets the most important part. “With me? I mean— Only if you like horror movies, I just figured because I’ve seen you walking around with that Stephen King novel. NOT that I’ve been watching you or anything!”

You let out a small giggle. The fact that you’re laughing and smiling is a good sign, even if it is slightly at his expense. He decides to lean into self-deprecation, hoping it’ll seem more charming than desperate.

“I’d say I don’t scare easily, but I think we’d both know that’s a lie by now.”

You scribble something near the bottom of the paper on the clipboard, delicately folding it and ripping it off before placing it in Eddie’s palm.

“Well, I’ve heard horror movies are less scary if you have someone to hold your hand.”

It doesn’t even matter that a ghost animatronic essentially acted as his wingman. The note with your number on it sits heavily in his pocket, thumb tracing over looped ink. Even though it’s cold as shit, he embarrassed himself, and signs of the spooky season decorate every corner, Eddie has a smile that rivals even the best of jack-o-lanterns.

As Eddie turns off towards the dirt path that leads to Forrest Hills Trailer Park, the smile still hasn’t faded.

For once, the streets of Hawkins seem a little less haunted.

likes are appreciated, comments and reblogs are cherished ♥️

#eddie munson #eddie munson x reader #eddie munson x fem!reader #eddie munson fluff #eddie munson x you #eddie munson x y/n #eddie munson fanfic #eddie munson oneshot #eddie munson drabble #eddie munson fic #eddie munson fanfiction #stranger things fanfiction #stranger things #stranger things fic #stranger things x reader #mimi wrote ✍️#poltergeists for sidekicks

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devilsandwings · 3 months ago

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Quiet Scenes- A Paul mescal fic

Synopsis: This will be an ongoing story. About Paul Mescal and a singer/actress with Sabrina Carpenters discography. That’s all I’ll reveal for now, read to find out. Love yall 💕

1k words ~ CW: none

This indicates a flashback ✨

March 12, 2023

I’m sitting at the Academy Awards, sipping on my champagne and gossiping with my best friend, Florence Pugh. She’s presenting an award with Andrew Garfield later tonight, you’re her guest. “…so anyway after all of that they ended up getting back together.” Florence finished her story about one of her friends.

“Wow yea that is ridiculous why would she take him back after that.” I responded in bewilderment of her story. She just shrugs her shoulders and the lights dim. Jimmy Kimmel comes back out onto the stage.

The night has been going great, you and Florence are having an amazing time. She killed it presenting, the host is funny, you’re running into friends and icons. You’re having a wonderful time at the Oscars. The announcers voice booms over the audience, “Please welcome academy award winners Jessica Chastain and Halle berry”

The two women walk onto the stage in their beautiful gowns. They smile at the assuring crowd as they walk to the microphone. “When an actor or actress first approaches a role we use every tool at our disposal to help us create the world of the character” Jessica says, reading the teleprompter. They continue about how actors create their characters.

“Here are the nominees for best performance from an actor in a leading role” Halle says

“Austin Butler, Elvis.” The announcer exclaims. The screen above the stage changes to a camera of Austin at his seat, he smiles and looks at his costar. The crowd erupts with applause. The announcer continues to read off names and the crowd cheers.

“Would now be a bad time to tell you I’ve never seen Elvis?” Florence whispers to you

I turn my head and gasp at her, “YOU WHAT” I whisper yell at her, but it doesn’t really matter nobody else can hear us over the cheering for Colin Farrell. “Ma’am you have to see it, I’m showing it to you next time you come over, I own it.” She laughs at my demand and nods her head, she cheers for Brendan Fraser.

I turn my head back to the screen as the announcer says, “Paul Mescal, Aftersun.” My brain screeched to a hault at the mention of his name. Then he was on the screen, wearing a white suit. He looked good, really good. “Bill Nighy…” the announcer continues. Just like that he was gone again. Florence cheered and smiled at me with an exaggerated smile, yay see you worked with him and his next role got an Oscar nomination, she’s probably saying in her head.

She doesn’t know what happened, I didn’t tell her. How could I have told her? She loved Mike, she would have been so mad at me. I’ve never seen her mad before, upset and frustrated sure, but mad? No, and I do not want to see it.

“Do you mind if I sit with ya? My trailers a Sauna.” Paul asks, sticking his head into my trailer. “Well we’re in Australia, so it’s hot in my trailer too but sure.” I retorted. “You’re probably just looking to escape your own mess.” He closes the trailer door and puts his hand over his chest, “You wound me, I thought we were friends.” He “stumbles” down onto a chair. I roll my eyes at him and throw a pretzel out of my bowl at him, “friends don’t steal from each other.” “Don’t bake delicious biscuits and expect me not to eat some” he says to you smiling, looking at you with those blue eyes. You look back into them, you could look into them forever. Your eyes meet, and the moment hangs there, magical, electric. Then breaking the spell he clears his throat and looks away from me.

The announcer finished the names and all the nominees are shown on the screen but you can’t help but look at Paul. “And the Oscar goes to,..” Jessica begins, “The Whale”. You audibly groan and Flo gives you a strange look and laughs.

“God I know you worked with him but I didn’t know you wanted him to win that much.” She chuckled as she claps. “Did you even see his movie?”

“Of course I did” I reply, “it was amazing. He was very good.” I drastically lowered my volume halfway through because Brendan began his speech. His face, you can’t get it out of your mind. It was only a slight falter when The Whale was called but it was noticeable.

You’re standing at the bar of the Vanity Fair Oscars Afterparty, waiting for Florence to come back. You grab your drink off the bar and turn around to look at the crowd, you scan the room hoping to find a familiar face when you see Paul. Standing halfway across the room laughing with a couple people. Then as if sensing her gaze, he looks up. Their eyes meet.

He excuses himself from the group and walks over to you. There’s a beat of silence as you take each other in. He looks a little rougher, more grown, but his eyes are just as sharp. His blue eyes that I wanted to swim in.

“You look…” he breaks the silence, “incredible”.

“Thank you” she blushes, “you don’t look too bad yourself. White looks good on you.”

He chuckles at her compliment, “thanks.”

There’s an awkward silence. He takes a sip of his drink. “Congratulations on your nomination” I say to him, holding up my drink, “I was hoping you’d win. I saw your movie it was amazing Paul.”

“Thank you. That really means a lot, coming from you.” He says, “It’s good to see you. Really good”

I take a sip of my champagne, studying him. I’m about to say something to him when Pedro Pascal walks over to us.

“Paul hey, could I talk to you for a minute?” Pedro asks, then he turns to me “I’m so sorry could I steal him for just a moment?”

I laugh, “Go right ahead.” I pause for a moment and look at Paul, “It was nice talking to you, I’ll see you later.”

Paul nods, “See you later” His gaze lingers on you until Pedro grabs his shoulder and they turn away. You sit alone at the bar, finishing your drink.

Authors note: Hey this is my first time writing in like a long time so be nice. Lmk what yall think & if you want a part 2. Also feel free to request anything! ~rose

#paul mescal #Paul mescal fic #paul mescal x reader #florence pugh #sabrina carpenter #pedro pascal #gladiator 2

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brian-in-finance · 3 months ago

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Inside Unfinished Business • Part 1

🧵Outlander_Starz: Outlander is back and so is "Inside Outlander," your scoop on the behind-the-scenes magic that brings this magical series to life! ✨ Let's dive into the emotional premiere, "Unfinished Business," shall we?"

Returning to Lallybroch and the location of Midhope Castle where Outlander films wasn't just magical for the fans but for the cast as well. Sam Heughan says this was his favourite location from this second half of the season.

Going back to Lallybroch was a really big moment, for Jamie but also for Outlander. It's where we started. I have a lot of memories working there. One of my first days shooting in Season 1 was at Midhope at Lallybroch... so it was quite a special moment.

Actually, I'd never been in the actual castle because it's derelict. We were using the doorway. So, I actually got to go in this time and have a look inside, which was very special. — SAM HEUGHAN, JAMIE FRASER

🧵Outlander_Starz: Showrunner and Executive Producer Matthew B. Roberts said, "Bringing one of our main characters back into the show... Scotland... she's such a beauty.

You miss her when you're not there. I love when we can play Scotland for Scotland at any point. And that iconic driveway going up to Lallybroch, it always makes your heart beat a little faster."

🧵Outlander_Starz: Set Decorator Stuart Bryce, who has been on Outlander since the beginning, was nostalgic at recreating this set across decades: "New touches, like Mike Gunn's murals, were a great addition, but essentially we didn't have to change too much. We kept it as true as we could to the original Lallybroch.

The tapestries in the dining room had been in storage, and there were a few pieces missing, so finding the original plans and having to recreate them was a challenge."

🧵Outlander_Starz: For Production Designer Mike Gunn, now that we're seeing Lallybroch in 1739 as well as the 1770s and 1980s, it was important to instantly recognize Roger was in a different time. He came up with the idea that behind the incredible tapestries from Season 1, there were murals created in the time of Brian Fraser, hidden after Culloden, then discovered by Bree and Roger in the 80s.

Read more about how Mike used these murals to plant Easter Eggs about Jamie and the story of Outlander itself!

I developed this backstory that the murals depicted the Jacobite rising and fight for Scottish independence. By the time the 1770s came and the Jacobites had lost Culloden, that's when the tapestries were hidden... In the 1980s, the tapestries were taken off. That was the starting point.

Then I decided to weave in the story of Outlander...

The unicorn, which I decided to depict in all of the four images, was Jamie. And of course, Claire is going to come into that journey. The central mural above the fireplace with the unicorn and horse, that's the two of them in love. But the unicorn is depicted as having his struggles throughout. He's depicted fighting a mythical beast that you could say is Black Jack. — MIKE GUNN, PRODUCTION DESIGNER

🧵Outlander_Starz: Fans will be delighted to see Jamie and Claire staying in the Laird's bedroom again with the iconic blue wallpaper. Set Decorator Stuart Bryce says of this room: "There is something about that blue that makes people's skin look amazing and enhanced those early romantic scenes of Jamie and Claire.

When we came to put the room back together, though it was exactly the way it should have been, by some mystery, the room was bigger...something spooky happened there!"

Inside Unfinished Business • 1 of 2

Threads 🧵

Remember… you miss her when you're not there. I love when we can play Scotland for Scotland at any point. And that iconic driveway going up to Lallybroch, it always makes your heart beat a little faster. — Matthew B Roberts

#Tait rhymes with hat #Good times #Outlander #Inside Outlander #Unfinished Business #S07E09 #Part 1 #Threads

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beloveds-embrace · 10 days ago

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Not me missing Magic Mike!141 and one day they notice manager!reader watching Tom Hollands Lipsinc battle for Umbrella. All of them grumbling about how you’re watching someone else dance.

A few weeks later 141 ask reader to give feedback on a new dance only for it to be the whole choreography to the dance and reader just being absolutely delighted, especially when the sprinklers go off, soaking all of them.

(Soap even wears the whole outfit)

The tom holland dance will never not be iconic 😩 but also i know you said johnny in tom’s clothes but like. This is all I can imagine 🤤 god I’d kill to be in reader’s place ough

#noona.asks

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corroded-void · 1 month ago

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Britt Allcroft, creator of the Thomas the Tank Engine and Friends TV series, has died.

We must thank her for enriching and influencing all of our childhoods. It was she who persuaded the most guarded and stubborn of characters, our Reverend Awdry, to bring his books to life. No mean feat when the Rev had veteod this premonition at evey turn, but Britt knew what she wanted to create and had the confidence and grit to bring Awdry on board.

It was also her plan to have Ringo Starr narrate it right from the beginning. She specifically wanted it to be him. And more magic was weaved, via the appointment of two musicians (Mike O'Donnell and Junior Campbell) with necessary Starr connections. Ringo would stay aboard for the first two series in 1984 and 1986, but these probably remain the most iconic of the lot.

Thomas the Tank Engine and Friends is firmly embedded in our psyche and has had a long lasting influence to just about everyone you know. Obviously those of us with a railway interest will carry it with us in particular, but you only have to look at its presence in online meme culture to understand how significant an impression it made to multiple generations.

Britt, thank you. RIP

#Britt Allcroft #ttte #thomas and friends #thomas the tank engine #Thomas the tank engine and friends

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bugsbenefit · 2 years ago

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attraction in ST

or. oh god stop stripping the show of it's themes no please no it needs those, stopppp

actually making this post now bc i'm sick of people claiming anything remotely sexual or even kissing happening to the party (an opinion that often pops up in the context of byler) in s5 would be horrible, sexualising, or out of character for the show

ST has always had a realistic approach to kids growing into their sexualities. the show's never shied away from directly addressing sex and sexual feelings so i'm honestly amazed by the extremely puritan interpretation of the show. i'm assuming, in good faith, that a big part of it is coming from people not having seen the actual show in ages and are just forgetting how explicitly the show handles sexuality. instead of just assuming it's from culturally raised christian people, who feel uncomfortable seeing any portrayal of sexuality, no matter how tasteful or realistic

i'm also saying all this as an ace person myself, i get not being into sex and not wanting to see it. however, refusing to acknowledge entire themes of a fictional show just because i don't experience them is bizarre to me. sexuality is vitally important to a lot of the characters and isn't just there to be fun(gross). essentially, ST is the opposite of porn without plot

so just as a little reminder what's actually IN Stranger Things. canonically.

sorry i had this sc for ages and wanted to include it Somewhere, so here you go. at a little starter... dorry

also this is an old draft seeing the light of day now, if anything's worded weird it's bc i didn't read all of it over again so oops, grammar hard?

TLDR: the show has never shied away from explicitly addressing sexuality. buying into the puritan fanon version of the show is going to make your s5 viewing experience worse because that show doesn't exist

season 1

we're starting the show off with Stancy, which is very sexually charged in general. (even in s4 Nancy still experiences physical attraction to Steve despite them having unchanged compatibility) the plot surrounding them in s1 explicitly focuses on Nancy having sex with Steve and later regretting that choice. the scene that everyone remembers, is of course, the "explicit" (not really, because ST is really tasteful with how it shows these teens explore themselves) sex scene

they're in sophomore and junior year of highschool here. around 15 and 16 years old - yet the show doesn't shy away from letting them figure things out. and it's not like this sexual theme is contained in only that scene. it keeps coming back the whole season as Nancy tries to sort her feelings out and deals with the aftermath of that night

also sidenote here while still at Steve and his party: even Steve's friends are very casual with their sexualities. and yes, they can even explicitly mention sex and specific sexual acts, no holding back here

Nancy's character conflict in s1 very much hinges on her sexuality and sexual themes. and it's not like there is a magic you need to be at least this old rule to know what sex is on the show like so many people seem to believe, because even 12 year old Mike seems to very much know what his sister and Steve are up to. he even goes out of his way to use it against her

iconic line! but i've seen insane takes trying to spin this into something not alluding to something sexual. i'm sorry to say if he doesn't think they're full on having sex he at least thinks they're getting very intimate with each other regardless

so not even the youngest characters on the show are "innocent and pure" the way fandom likes to claim when it comes to sexuality. and of course they aren't. real 12 year olds know what sex is, they're young not oblivious

and the following seasons make that even more obvious

season 2

as of s2 the kids are getting more involved with the sexual jokes, not just making them about other people but even being directly involved with those themes themselves. which is also realistic. with 13 sexuality starts to get thrown your way by every possible form of media. lots of them start developing crushes, have no idea how relationships work, etc. it's messy, typical teens thrown into the dating game. (i say all of this from a developmental media psychology perspective thanks uni and not personal experience sorry lmao, i'm a bit too ace to have my own input here)

s2 features comedic and awkward mentions of sex(ual activity) towards Lucas and Max,

older peers giving their 13 year old friends well meant advice on how relationships work,

and has even younger characters play around with attraction/kissing/love as well, which is incredibly normal for kids to do at that age

they're all young and the show treats growing up realistically. while the theme of attraction or sexuality gets more relevant for them (in scenes that are often received with awkwardness by the characters themselves) the show offers them safe territory to stand on. none of them are directly confronted with sexuality and are instead offered people to seek advice from for example

meanwhile the sexuality theme for the older kids is still very much explicit. just as Nancy's arc is still heavily tied to her romance and sexuality (which ties into her non conformity themes - she's an ambition driven person trying to escape the culdesac life first and foremost)

not only do we get another sex scene (this time with a cut away), there's also explicit jokes about it after

sexuality on the show is continuously awkward and messy. Jonathan and Nancy are only 16-17 here - no one really knows what they're doing or what the right way to go ahead is and Jonathan rightfully almost does a spittake here. out of pocket Murray

sexuality. is. awkward. (we get is s2 thanks)

season 3

s3 gets even more explicit with it's awkward puberty sexuality themes

from Dustin talking about how much he likes kissing Suzie (and her liking him not having teeth for it?) which weirds Steve out to the repeating, awkwardly received, "happy screams joke" (which gets a callback in later scene)

sexuality is still awkward for them. it's a realistic approach to what 14 year olds act like and know. they're actively dating by now, they're kissing people And have messy relationship situations. all while still acknowledging knowing what sex and attraction is, duh, of course they know that. but i'm explicitly pointing it out because i see obscene amounts of people claiming the characters are completely sheltered and even implying that they know what sex is would be gross. to that i say, do you not remember being 14???

and while i'm at s3, also let it be mentioned that even the adults are suffering at the hands of the sexuality theme here. Hopper's hookups with random women are focused on in s1, but now that he's getting closer with Joyce they get very explicitly told to just have sex. literally

not putting the whole dialogue in here, i already have too many images because there's so many sex mentions in this show and he really just tells them their mating ritual is painful and they should tear their clothes off and fuck right now

thanks Murray, always insightful

season 4

and s4 has stopped just confronting the kids with the existence of sexuality, but is tentatively starting to explore mature themes more directly - which allows them to tentatively start exploring their own sexualities instead of just having to acknowledge the general concept of sexuality

Max gets to ogle shirtless Steve

Lucas has something under his bed that's never confirmed as anything except "100/10 gross" but had 90% of the audience i saw immediately assume something sexual (magazines or the like)

and has a bunch more direct nudges, from the kids "experimenting sexually" as Murray says

to Argyle explicitly telling Jonathan he needs to have sex with Nancy again

to Hopper and Joyce's escalating make out in a church while shirtless

to visual innuendos (i'm looking at you hose scene. this one wouldn't be such a big deal if there wasn't a genuine moral panic about it last year. which was crazy. people literally had to pretend the scene didn't exist to escape the witchhunting mobs, except instead of being killed for magic it'd be for looking at a canon scene and acknowledging it. crazy times - aside from that there's also more visuals you can take as innuendos in s4e1 which there's already posts about out there so i'm not getting into them here, i'm more focused on the overt textual references)

to Yuir extensively talking about pleasing women and making them cum (I'm sparing you from that, the sc in at the top was already enough)

to explicit graffities all over the place, like here as an example "give me head until i'm dead" which is in frame for the whole phone call and Steve talking about his bitchlesness. and is also some of the only easily legible text (i hope this is readable, most of my screenshots kind of died a bit so maybe you need to look at an actual clip to see the text)

that is aside from the "DRUGS" poster which touches on another point s4 makes. the show doesn't just explore sexuality, it also puts the kids into more mature situations in general (not talking about the deaths, this is a horror show), specifically drugs

Jonathan uses weed as a coping mechanism the whole season and Eddie even sells the stuff in full bags (insane weed selling practices btw, even i know that). Chrissy (17-18) wants to do weed and ketamine. and we also see Lucas (14) hungover after drinking at a party for the first time

the show does not shy away from portraying realistic teen experiences

Murray called s4 very well, the kids pound some bears, smoke some ganja, play nintendo, and experiment sexually

literally. you have drinking, weed, and confusing queer sexualities. they took this list step by step

and all of those pretty normal things teens tend to explore. and i say that as someone who was decidedly not into those things. the ace experience is a bit different, but i can still acknowledge how that period was like for my allo friends and people in general

there is an extreme push in this fandom to reject any form of sexual jokes or references in the show, made mostly by people being uncomfortable with portrayals of sexuality. however, the themes not only still exist, they're also very prominent throughout all 4 seasons and are important to a lot of the characters directly

and it's also noteworthy here to see how ST approaches it's sexuality theme. it grows with the characters. starting out as jokes and being received with awkwardness to slowly letting them figure things out on their own time and turns. an extremely realistic progression and very common for coming of age narratives such as ST. it's a far cry from shows exploring sexuality or sexual themes for the sake of the viewers enjoyment like Euph0ria (don't want it to show up in tags)

based on what we currently know s5 could very well be taking place in 1988 or later which would place the party at around 16-17 years old. going into the season with the fanon version of the show that is completely clean and non sexual will 100% set you up for disaster

ST is very realistic and non exploitative with it's exploration of teen sexuality so there is obviously nothing to worry about in the sexualization department, that's just puritan fear mongering. however, it's very likely that we're going to get more than holding hands or pecks on the lips from the characters that are now older than characters we've explicitly seen hook up before. there could be more intimate scenes or making out, yes. but there's also at least one basically guaranteed vulgar joke in there, all seasons have them

there's no real theorizing or speculation about s5 here, anything could happen and i'm not placing bets, i want the characters narratives to be wrapped up well first and foremost and trust the writers to do it well. however, going into s5 with some of the mindsets i've seen circulating on here and expecting the show to be "clean" and cater to a version of it that's never existed outside of purified fandom could genuinely make you feel blindsided by the shows canon themes

not targeted at anyone or anything specifically, just using this as a bit of a reality check of what the show is actually like after recently rewatching all of it in one go

#stranger things #you see people here get attacked for harmless kissing fics bc it's 'too sexual' meanwhile the canon show has teens explicitly having sex #the contrast is just crazy #lets not pretend half the show doesn't exist just bc it makes you uncomfortable #byler #because it's Relevant in that tag lmao #finally posting this older one (i'm even tagging it bc i'm so brave) since we're finally starting to be able to talk about the show like #you'd talk about any other show normally #and we're ignoring the puritans #sure why not talk more about the canon show

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thenationaltreasuregazette · 2 months ago

Text

National Treasure: The Musical

Previously, we hallucinated the first act of a National Treasure musical.

And now:

ACT II

INT. ROTUNDA - NIGHT

The curtain opens with AGENT SADUSKY and the other FBI AGENTS —JOHNSON, HENDRIX, & DAWES— and facing the audience. He addresses the audience as if we’re the gala guests ensuring us that everything is fine.

The ensemble is additional FBI agents.

Then he and the agents regroup by themselves. Agent Hendrix admits that they received a tip but it wasn’t recorded.

Sadusky: How ‘bout now?

SONG: Every Second Counts

The song starts on a very sassy, staccato note just after Sadusky says his sassy line. Its melody is urgent as he and the other agents try to figure out what happened.

They question:

MIKE, the guard that Ian and co knocked out. He doesn’t remember anything.

HEAD GUARD WOODRUFF, who tells them that a copy of the Declaration is on display and that there were no other guards in the vault hallway.

STAN, who says Abigail is missing but there’s no way she was involved.

CASHIER, who relays the weird interaction she had with Ben.

Different cast member come forward to meet them as the agents do basically a walk & talk around the stage.

↳ Btw Disney has generously paid for us to have one of those in-stage treadmill things so let’s use that for the blocking here to help the scene feel dynamic. Do your best Aaron Sorkin impression, you know?

That’s how the agents get Ben’s name: Benjamin Franklin Gates.

Now the song quiets down for Sadusky to have a verse alone thinking about Ben. This element is in the final movie, but it’s one of the things that stands out to me most from the 2003 script as well (at least, of things that aren’t ridiculous): the other agents are quick to assign roles and motivations to Ben. He must be an anti-american terrorist, etc. Sadusky waits and analyzes.

So this verse is a little bit more intimate as Sadusky wants to understand who Ben is and what’s making him tick before he makes any judgements.

Ends with the lead toward Patrick. “Closest relative first.”

END SONG

INT. GATES FAMILY HOME - NIGHT

Ben asks Patrick for the Silence Doogood letters.

Riley asks what the magic numbers mean. Ottendorf cypher.

Patrick explains that he donated the letters. Ben will absolutely still give his dad the finger in the way he pulls off his cotton gloves. Iconic.

Abigail says she can’t believe all this time no one knew what’s on the back.

Patrick: The back of what?

SONG: Too Far

Let’s have Patrick get a little angrier, yeah?

In this brief song Patrick will criticize Ben for taking things too far. He’ll say that he’s tolerated all of Ben’s treasure hunt shenanigans, him wasting his potential, but this is too much. The worst insult will come when he says Ben has let his grandfather down.

Patrick: And you’ve dragged me into all this

Ben: Well we can’t have that.

END SONG

Ben and the gang tape Patrick to the chair before leaving. They mention that they’re going to take Patrick’s car.

INT. HOTEL - NIGHT

Ian and the gang puzzle over the riddle. It’s a little more banter-y than in the movie but it’s clear Ian is in control. He’s the kind of guy where they henchmen will laugh if he laughs and stop if he stops.

Maybe we learn a bit more about each henchman here?

And they’re playing poker or something. Pretty chummy.

Ian figures out the “Silence is a name” clue.

INT. CLOTHING STORE - DAY

Although the scene in the car is one of my favorites, it won’t really work here, so we’ll have the Common Sense/how do they have cash discussion in the store while Ben and Abigail pick out clothes.

We’ll watch them make the plan to have Riley go and get the cypher clue because he’s the one least likely to be spotted.

Riley leaves and Ben and Abigail head into the questionably designed dressing rooms.

SONG: Cavalier

Oh we’re definitely doing a song for this one.

Abigail asks Ben about Patrick’s comment. Ben explains his dad’s philosophy on love.

Since we have time to get a bit more introspective here, let’s dig into this a little more. As I’ve discussed elsewhere, I think this whole “cavalier in your personal life” says way more about Patrick than it does about Ben.

So Ben will explain a bit more about who his dad is, what Patrick expects Ben to be, and how Ben actually lives his life.

Superstar bonus points if we make it canon that his mom is dead in this version.

This song is mostly Ben’s with Abigail popping in here and there. Subtextually it makes it clear that actually Ben does have a one true love just like his dad wanted, but it’s the treasure.

The song ends with Ben and Abigail doing a nice little harmony now that they’re falling more in sync. And yes, some of Ben’s old-time-y poetic phrasing will be used in the lyrics.

END SONG

EXT. FRANKLIN INSTITUTE - DAY/INT. CLOTHING STORY - DAY

The lights go down on the clothing store but it’s still visible. Ben and Abigail finish any quick changing they need to do.

Riley is on a bench downstage waiting for the the SCHOOLKID. (This can be the same kid who plays young Ben for double casting reasons, or not).

The kid walks in and gives Riley the next letter paper. Riley adds the letters to the riddle. We can use the same scrim projection deal to show the almost-finished puzzle. Super extra bonus points if we watch Riley erase part of it in time with the projections when the kid criticizes his handwriting.

Riley sends the kid in for the last letters.

He reads the end of the riddle to himself again and…

[what inspires his breakthrough here? A salesperson selling something liberty bell related? idk]

Riley jumps up and runs off stage. The lights go down on the bench and come up again on…

INT. CLOTHING STORE

Ben and Abigail come out of the changing rooms as Riley runs in with the next clue.

All of the same bits with the CASHIER, decoding the riddle, and daylight savings time.

The trio heads off to Independence Hall.

EXT. BENCH - DAY

Lights come back on the the bench and the kid comes out again looking for Riley. When he doesn’t see him, the kid walks part way across the stage looking for him, turns around…and walks right into Ian and the crew, who have taken Riley’s place.

They get the kid to give them the last four letters, and announce that they’re also heading to independence hall.

INT./EXT. INDEPENDENCE HALL - DAY

A NATIONAL PARK RANGER leads a tour group across the stage. Ben, Riley, and Abigail break off of it and climb up the scaffolding, which will now playing the role of Independence Hall. A bell has been raised above it.

They spot the shadow as Ian and co enter on stage level looking up at the hall. “Idiot.” “Who?” “Me. It’s not here. It’s there.”

↳ Also can we talk about Shaw’s reaction here? “Who?” It’s really encapsulates their dynamic.

Team Treasure climbs down while Ian and Shaw climb up, leaving the rest of the henchmen on the stage. Ben’s team heads to the signing room (downstage) while the other henchmen move around and accidentally miss them.

The blocking here should feel as close to a Scooby Doo doors sequence as is possible in real life.

INT. SIGNING ROOM - DAY

The set changes slightly so it’s clear we’re inside Independence Hall and the henchmen are outside. Ian and Shaw are still up in the belfry. Some old time-y desk push in from the edges.

Ben shows off the glasses and Riley and Abigail help him unroll the Declaration. When he gets to the bottom, Ben pauses.

SONG: In the Company/Great Company/Great Minds

“The last time this was here, it was being signed.”

Ben envisions the scene, with a little bit of context for how the convention was actually going. He elaborates on his thing about being in the same place as historical happenings and what it feels like for him.

We’ll use Patrick’s line from later in the movie about being in the company of some of the greatest minds in history by understanding what they left behind.

Abigail is charmed by this, and Riley is affectionately annoyed. There’s another tour coming.

Then Ben spots some of Ian’s crew out the window. The song shifts to more of a “we’ve got company, uh-oh” bent. Ben, Riley, and Abigail split up with the artifacts.

Ian and the henchmen get a verse as they split up to pursue. Their verse uses “we’ve got company” in the sense of “we’ve found them”/“we have eyes on them.”

The ensemble floods in as the crowd outside of Independence hall. Team Treasure acts cool until all at the same moment they break into a run. Powell and McGregor chase Ben off in one direction and Shaw and Shippen follow Riley and Abigail in the other.

INT. READING TERMINAL MARKET - DAY

Riley and Abigail run back onto the stage as shop counters and patrons move in—one row in back and one on each side to create an aisle. She beckons for him to follow but they get split up (one gets pulled in the wrong direction by the treadmill?).

Everyone is still singing btw.

Abigail jumps behind the meat counter, which is facing the audience. Everything FREEZES and the lights all focus on Abigail and the woman behind the counter.

I’d love to do that thing where this song stops the previous one cold and takes over, so:

END SONG

SONG: Stick Around

This song is trying to cover a lot of ground so let’s see if we can make it work.

It starts with MEAT LADY behind the counter looking at Abigail. She’s trying to decide whether to let Abigail stay or not.

Behind the counter, in the aisle of the market, Shaw is prowling and doing a creepy “here kitty” kind of thing with the idea of “stick around and find out”

Abigail—frightened by this—is starting to wonder why she is sticking around. For the Declaration, yes, but she’s literally holding it. Once they’re clear of the immediate danger she could turn it in. Not Ben necessarily, but this song will explore why she still wants to be a part of the treasure hunt.

We’ll also see what Riley is doing. I’m thinking some comedic shenanigans pretending to be part of different families/groups? In his part he’ll explain why he is sticking with Ben. Maybe we'll learn that his interest in conspiracy theories comes out of a desire to be part of something that matters. And with Ben and Ben's mission he feels like he matters.

→ don't come at me Emmi, I'm trying to fix this ☺️

Meat Lady tells off Shaw, who leaves. Abigail and Riley both reaffirm their decision to stick with Ben.

END SONG

The lights come up, the crowd starts moving again, and Abigail runs back into the fray. She reunites with Riley and they run out. The market setting follows them as…

EXT. ROOFTOP - DAY

Ben backs onto the top catwalk, held at gunpoint by McGregor. Ben tries to reason with him, remind him they knew each other. Maybe a few extra lines about playing poker with the guys or whatever the crew did when Ben was with them.

Ben throws the document case and runs down the far staircase. McGregor sees that its empty and leaves in a huff.

EXT. STREET - DAY

Below, Riley and Abigail run through a crowd. Riley gets held up and Abigail gets knocked down.

She drops the Declaration case then dives after it. Riley pulls her back to the sound of a TRUCK HORN. Then the treadmill brings the case right to Ian’s feet.

Shaw and Shippen run in after them, but Ian lets Riley and Abigail go.

They call Ben, who comes from the other side of the stage, and tell him they lost it. Ben says to meet him at the car.

When Ben arrives at the car, Sadusky and his team are waiting. They arrest Ben.

Riley and Abigail backtrack before they can be spotted.

EXT. PARK - DAY

Riley and Abigail wonder what they’re going to do now.

SONG: One Step Short of Crazy (Abigail’s Reprise)

In this song, we get to see Abigail make the decision to call Ian and work with him to get Ben back, something she would never have dreamed she was capable of or willing to do 24 hours earlier.

But now she’s open to the idea of doing what’s considered wrong, in order to do what she knows is right.

We get to hear just the first few lines of their her and Ian’s conversation.

END SONG

INT. FBI FIELD OFFICE - DAY

The FBI team drag Ben in and handcuff him to a desk. We get to see a little more of the interrogation here, because I think the way Ben chooses to summarize the story thus far is probably funny/interresting.

SONG: Door Number Three

Sadusky lays out for Ben that he has two options, Door Number 1 and Door Number 2.

When Ian calls Sadusky has a line like “Door Number 2 just called” or “Door Number 2 is closing.”

Ian—from an aside at the front of the stage—tells them to meet at the Intrepid.

I’d love an extra line or two about how Ian and crew plan to get there.

EXT. USS INTREPID - DAY

The ensemble is once again the crowd, with the FBI agents in plain clothes but distinguished by light cues as Sadusky does roll call so we can see where they are.

Ben enters and quips about the agents being spotted. Sadusky and Agent Johnson sit in a van at the back of the stage with headphones.

The helicopter interruption is accomplished with sound effects, light cues, and a big fan. Shaw enters and talks to Ben, but we can’t hear them, only static and:

→ What we do hear is Shaw reprising the line “2000 ways this could go wrong/but only one way it needs to go right”

The ensemble moves around in the chaos, misdirecting so Ben can slip off stage.

When the wind clears, Sadusky is asking if anyone sees Ben, and the FBI agents come forward to say no, they don’t.

Ben enters on the catwalk. Fishing. Bait. He tells Sadusky he’s found door number 3, and he’s taking it. Then BEN JUMPS OVER THE SIDE OF THE CATWALK.

END SONG

The easy version is that he jumps onto a platform concealed as part of the Intrepid set, so he jumps somewhere we can’t see only a few feet down and a SPLASH sound effect does the rest.

The $$$ version is that Ben is on wire from the time he enters on the catwalk, and he actually jumps from it. Maybe even some strobe light to make the fall feel slower/farther/more dramatic. Perfect pencil position of course.

EXT. UNDERWATER - DARK

The stage goes dark. SPLASH sound. Ben is FLOATING near the stage because he’s already on wires so why not.

McGregor “swims” up (also on wires), hands Ben scuba gear “under water” and they get pulled out by the wires as if by the little torpedo propulsion device.

EXT. USS INTREPID - DAY

The lights come back up with FBI agents looking over the edge of the catwalk. “You first.”

Agent Dawes can just be standing there to say “Sir, it’s the Hudson. Nothing is visible.”

EXT. NEW JERSEY DOCK - DAY

Ben and McGregor climb up from the trap door. New clothes. Had to guess your sizes.

The phone call between Ben and Abigail happens before they get into the car, because blocking.

The henchmen just kinda push Ben along to…

EXT. TRINITY CHURCH - DAY

Ian waits for them. He offers Ben the Declaration and the pipe in exchange for the treasure.

Ian: Oh Ben. You know the secret to running a convincing bluff? Every once in a while you’ve got to be hold all the cards.

SONG: All the Cards

Yes, Ian’s big Act 2 villain song will focus on the poker theme and the idea that he’s holding all the cards. Each time he says it, one of the henchmen will tow in another “card”—Patrick, Abigail, and Riley.

INT. TRINITY CHURCH - DAY

It will also take some time to explore Ian a little more. What makes him tick? He’s wants money, sure, but he’s planning to get it in a pretty wild way at the start of the movie (funding this crackpot treasure hunter).

The song will pause for Ben and Ian to examine the map. Same effect with the scrim showing what they’re seeing on the document. Ian orders everyone down to the basement.

Patrick and Ben will have a verse and they discuss how to keep the status quo or overturn it, also framed as a poker metaphor.

END SONG

They progress to the tunnel. Ian leaves two men behind and everyone else goes in the tunnel.

Characters will enter the tunnel in the middle of the stage. Ben pulls Abigail aside for the kiss here before they go inside, and this can buy some time for other actors to get where they need to be.

INT. STAIR CHAMBER - DAY

They reappear on the top level of scaffolding, walking trepidatiously across it.

Okay. Now we’ve come to the stairs sequence, and we have some choices to make as far as how we do this.

I have a personal broadway-related philosophy that I’m all for effects, but I don’t think that actors should also be expected to be acrobats, because it limits the pool of performers, makes the show less accessible to future lower budget productions, and most importantly endangers people unnecessarily.

That said, we have this scaffolding-like set that’s been on stage the whole time, as many a show does, and it sure would be pretty damn cool if it collapsed right now, right?

Not a lot but like one end of one of the catwalks drops a foot in one direction and the other in the other.

Two elevator platforms hang in front of them. Patrick, Ian, and Powell step from the lower catwalk to the lower elevator. Riley finds safety on the least collaps-y point of the set.

Ben and Abigail, however, are still on the top catwalk and have to go for to the higher elevator.

Remember what I said a second ago about not wanting to include acrobatics? well…this is fictional, after all, so…

Ben and Abigail are now on the same to wire rigs used for the Intrepid sequence. They jump onto the elevator, which lurches and tilts dramatically, leaving Abigail to hang off the end.

Ben drops her to safety before grabbing for the Declaration.

Oh and we just drop Shaw off into the wing curtains. Sorry. but we’re not using a big effect on him.

Ben gets to working elevator, which picks up Abigail and Riley and then descends to the stage while the broke one ascends into the fly, which, along with possibly a moving projectiony background create the illusion that we are moving down.

INT. ANTECHAMBER - DAY

Once we reach the bottom the scaffolding resets to signal that we’re on solid ground again.

The same deal here. Ben and Patrick fake a clue and Ian leaves them behind.

SONG: Treasure is a Myth

Ben apologizes to Riley. A joyful, victorious song barely gets going before—

INT. FALSE TREASURE ROOM - DAY

—it cuts off for a sad musical interlude as they step forward into the empty treasure room.

Everyone apologizes to Ben as he stands in the center of the stage dumbstruck (fake torch in hand).

Then Ben sings a heartbreaking reprise of “Treasure is a Myth” in which he concedes that his father was right. He wasted his life, his freedom, risked his friends lives all for something that everybody else already knew: the treasure is a myth.

Patrick tries to convince him otherwise, that by finding this room he has made a great accomplishment. “For your grandfather, and all of us.”

The ensemble member who is John Gates returns to pat Ben on the back and tell him he’s proud of him, that Ben accomplished more than he ever imagined. The Gates Family Ensemble returns one by one/couple by couple to tell Ben the same.

The family, led by Patrick, tries to get Ben not to give up on the hunt. Abigail is in.

Ben lists various times he thought he’d found something and decides he can’t do it again, that he can’t take another heartbreak.

↳ Yes, we are diverging slightly from the movie here, where Ben agrees pretty readily to keep searching. It’s a quick turnaround in the movie, but I think it works largely because of Nic Cage’s performance. Ben is genuinely crushed/empty/broken and even when he says yes he’ll keep going it’s clearly something that is hard for him to agree to.

On stage that nuance might not come across as well, so I like the idea of making this beat a little stronger by making Ben’s ‘all is lost’ moment a little longer. What if he had to truly give up before he solves the final puzzle?

END SONG

Riley reminds them that they’re all stuck. Where’s this second exit?

SONG: Charlotte’s Riddle (Reprise)

This isn’t a full song as much as a haunting line or two from the Charlotte voice as Ben examines the room.

END SONG

Ben: Could it really be that simple?

We make a nice production of ‘the secret lies with Charlotte.’ Ben’s a bit more vocal about what he’s seeing and doing, again because the details will be less visible.

When he pushes the button all the torches flicker as a door opens on the side of the stage with a nice stone sound effect.

One by one the characters enter, Ben last.

INT. TREASURE ROOM - DAY

The lights go dark.

Patrick, Abigail, Riley, and Ben enter one by one from the back of the stage. They start out in a halo of light that’s just around the four of them.

A spotlight illuminates the oil podium.

Ben says something profound about all the places the treasure has traveled and all of the hands it passed through (replacing/bolstering the beat with the medallion, which, again, might not read as clearly on stage.)

He touches his torch to the oil and holy shit, holy shit—

Channels of fire spread across the stage…

…and down through LED lighting strips that have been placed/taped/embedded along the aisles of the theater.

The familiar National Treasure score swells.

As the haze of warm light rises on the stage we can see that they are surrounded by treasure items—Egyptian sarcophagi, Chinese terracotta warriors, Greek marble columns and statues. Piles and piles of treasure.

They look out on us, the audience, who form the rest of the treasure cavern, and cheer.

↳ I think it’s important the the treasure room reveal happens all at once because the rest of the cavern won’t read that impressively on its own. Instead we’ll use the stage’s unique relationship to light/dark/spotlight to achieve the reveal.

↳ Option to have the Gates Family Chorus lining the scaffolding, maybe doing some choral harmonies to the score.

Riley has his Bluish-green man moment.

Abigail geeks out over her scrolls.

Ben and Patrick share a more direct moment of celebration. (to bolster the arms on each other’s backs)

Riley: Look. Stairs.

Added beat: they discuss that they’re ready to head up to the surface and face whatever consequences await.

INT. TRINITY CHURCH - DAY

Ben emerges from the tunnel mouth and calls Sadusky on his cell phone.

Sadusky and the FBI swarm in. Agents in FBI windbreakers help the others out of the tunnel as Sadusky slowly, ominously approaches Ben.

Ben offers up the Declaration. Not a bargaining chip.

SONG: Just Like That/Finale

Ben lists his requests.

The theme here is “it belongs to the world” and the idea that the treasure is bigger than any of them.

Everyone states what they got out of the treasure hunt. Ben got validation. Abigail got adventure. Riley got to be part of something. Patrick got his son back.

Armed guards come to take the Declaration to the National Archives NYC branch, and then back to D.C.. Abigail is welcome to come.

Before she leaves she goes up to Ben and they decide to get a cup of coffee after this is all over.

Riley pats Ben on the back.

Sadusky comes in to spoil the mood because someone has to go to prison. Ben offers up Ian instead. The FBI arrests Ian and the gang.

What now? Everything is about to change. But not the things that matter. Bla bla, the power of friendship; maybe the real treasure was the friends/found family/polycule we make along the way.

The score swells and we end on a big triumphant chorus.

END SONG

END ACT 2

#national treasure #national treasure the musical #ben gates #riley poole #abigail chase #patrick gates #ian howe #peter sadusky #the national treasure gazette

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castlebyersafterdark · 8 months ago

Note

hello! I love your blog and the way you have fun here while also speaking eloquently about the dynamics and mechanics of the show. bravo for such a great space!

what do you think of people who don't see will as a main character? i've found my first on tumblr:

'i get he has importance. but also like, he is very much a plot device of Bad Stuff in at least the first 3 seasons, if not the 4th as well. (kidnapped, possessed, ominous Warnings that dont really matter except for building up tension) - we very much do only care about him because other characters do.'

this is less a comment on how they wrote will than his overall meaning in the narrative. even without the whole noah confirmation that will is BACK and BIG in s5, why do you think so many people, including GA, couldnt pick up on will's importance?

i recall first watching the show in s1 2016. even before ship wars existed, even before i knew about 'byeler' as it was called, i felt in my soul that will was important. there was a magic about him! he felt so intriguing and special. i even wrote in my journal that 'will byers is an iconic figure'. i have that old journal somewhere, and there's no elaboration! just that one sentence! haha

will was so mystical and powerful to me. i am not queer and did not pick up on this part of him, at least consciously, until s3. but something about him i adored and he mattered to me. these viewers who don't see will as important... do you think they truly missed the point of the show? if so, its a shame, but theyre very adamant that it's others who are missing the point and that we're not supposed to care for will, and i just can't see how that would ever be something the creators would want for any of their original characters. + will isn't an extra, or even a secondary character despite his lack of screentime because the heart of the story and narrative hinges around him. he is subtextually, implicitly important - this is storytelling 101!

(many of these will-indifferents also want fics of mike where will is only background/not important, even though they see mike as gay. they want a s5 gay mike arc, but where will doesnt figure in it, and i dont understand how that can make sense in this show when mike and will have always been part of each other's lives, even as friends???)

what are your thoughts my friend?

Hello!!! Glad you're here!

I honestly cannot understand Stranger Things fans who don't like Will. Or view him as non-important. Yeah, even though he was in so little season one, he is sooooooo so vital and if you don't care about that little boy, what are you doing here? The show failed you and its purpose. I cared so much from the moment he ran from that monster and disappeared, hooked for life on this silly little show. Will did that! Plot device? Sure, of course. All characters are plot devices to an extent. But to say that's all he is? We learn so much about who he is from little snippets in s1, he's a real character. Sure, we care about the story of finding him, but why do we care? Defined haunting the narrative. That's so sad if people only see him as this afterthought to move the story along.

Did people not watch season 2? I can kiiiiiind of get what people meant if we were thrown back in time to pre-s2 times and we only know what we know and as a casual watcher, maybe you just saw the show and didn't think too deep. (Not me, I loved Will and was looking forward to what else was in store with him after that s1 cliffhanger with the slug, are you kidding??? How interesting!) How can you still view Will this way after season2?

I think these people missed the point of the show. Truly. Surface level watching, I honestly don't know. I can excuse the fandom colloquial and snarky read of the "GA" because these are just people who like the show but with everything they like, it's not deeper thinking. Still goofy how they miss so many points I feel are blatant in the show, but a lot of people barely absorb what they're watching ("omg I love ST, Dustin and Steve are so funny haha I hope they bring Eddie back haha the show is so scary haha") <- like that's honestly how randos sound.

The fandom fandom people who are actively on sites like tumblr and into actual fan shit??? How do you hate Will if you're not a milkvan stan? Why?? What is the reason to care about a Mike sexuality storyline and think it has nothing to do with Will?????? Whose arc thus far has that play a huge role in his character? They are so entwined. Just say you're a FW stan and stop pretending to be anything deeper, that's totally fine, but just admit that. The rest of us aren't crazy for analyzing deeper and understanding the point of the show - that Will has always been and will always be the heart of the storyline. Season 5 gonna be a huge wake up call for a lot of people. But I try not to think about or indulge those people too often. Stay positive, ignore dumbass interpretations and takes. We know what and who are important.

#clearing out old asks #sorry i take so long to reply I'm constantly a mess hahaha

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