#oscar blindspot

[dangerousanchorfury]

Remi e Oscar blindspot 😍❤️

[dangerousanchorfury]

Remi blindspot ❤️

21 Days of Remi, Day 14 - Recruitment

[take2intotheshower]

Kurt Weller in Blindspot Season 5 #5

(Blindspot Season 5, Episode 5 - Head Games)

[indelibleevidence]

Jane: What was I like before all this?

Oscar: You were compassionate. Loyal. Patient. So damn stubborn.

*

Remi: So what's so great about Jane, anyway? Why do you love her so much?

Kurt: She's the strongest person I've ever met. And considering everything she's been through, she's still compassionate and kind.

[sadiqssolitude]

#FrançoisArnaud #psychic #ManfredBernardo #MidnightTexas #CesareBorgia #TheBorgias #Blindspot #Oscar #actor

Full vid: https://youtu.be/TKm9AaT7ImA Shorts: https://youtu.be/3ZqCLyzxZT0

[dangerousanchorfury]

Jane e Oscar blindspot ❤️

“You were never really into jazz until we got together. My mother died when I was a kid and her albums are all I really had of her growing up, so…I’d listen to them over and over and they just…they became a part of me. Music was important to me, so it became important to you.”

[lokiondisneyplus]

Potential spoilers below the cut, but a super interesting article.

Some non-spoiler pull quotes:

Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through. -- This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. -- We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

Of the eight live-action TV shows that Marvel Studios has produced for Disney+ to date, only one has concluded with the explicit promise of a second season: That would be “Loki,” the outrageously entertaining series about Tom Hiddleston’s god of mischief and his metaphysical exploits in the Time Variance Authority.

It turns out, those plans were already in the works before a second of “Loki” had ever streamed. As executive producer Kevin Wright explains to Variety, he and Hiddleston began talking about Season 2 of the show while in production on the third episode of Season 1.

“As we were shooting the ‘Lamentis’ episode, Tom and I started having lots of conversations about how this world could build out, how we dive deeper into it,” he says. “A large part of what we wanted to do was not trying to repeat ourselves, and not try to play the hits.” At the same time, he adds, they also wanted to make sure didn’t start Season 2 by “fast-forwarding through the drama” of the Season 1 finale. 

And so much happened in that finale. To recap: Loki and his variant-turned-potential-soulmate Sylvie (Sophia Di Martino) arrive at the end of time, where they meet the creator of the TVA, He Who Remains (Jonathan Majors) — the variant of the supervillain Kang who won a massive multiversal war. To prevent future Kangs from emerging, He Who Remains has used the TVA to maintain a single, sacred timeline — pruning away trillions of potential lives in the process. He gives Sylvie and Loki an impossible choice: Replace him as the head of the TVA, or kill him and bring forth an infinite number of Kangs.

Loki wants the first option; Sylvie wants the second. She wins, kills He Who Remains, and boots Loki back to an alternate version of the TVA, where previous compatriots Mobius (Owen Wilson) and Hunter B-15 (Wunmi Mosaku) don’t remember ever meeting him.

Variety has screened the first four (of six) episodes of “Loki,” and without spoiling anything, Season 2 picks up pretty much exactly where the first season left off — before then charting its own storytelling path. The full cast has returned, including Gugu Mbatha-Raw as former TVA judge Ravonna Renslayer and Eugene Cordero as TVA functionary Casey. And Majors returns as well as He Who Remains, in addition to another Kang variant, a 19th century inventor named Victor Timely. They’re joined by new actors including Kate Dickie (“Game of Thrones”), Rafael Casal (“Blindspotting”) and recent Oscar-winner Ke Huy Quan as TVA technician Ouroboros, aka “OB.”

Behind the scenes, there have been some changes from Season 1. The series’ original director Kate Herron and head writer Michael Waldron both stepped back to focus on other projects. In their places, “Moon Knight’s” Justin Benson and Aaron Moorhead have stepped in as lead directors, and Season 1 writer Eric Martin stepped up as head writer for Season 2.

To delve into the second season of “Loki,” Wright talked with Variety about casting Quan just before his performance in the multiverse spectacular “Everything Everywhere All at Once” changed the actor’s life forever; what the future of “Loki” the show and Loki the character might be following Season 2; and how Majors’ arrest in March for assault did (or did not) affect their plans for Season 2.

What were the discussions like about how to approach Season 2?

I think we had to just keep reminding ourselves that the TVA is a great world, let’s live in the drama of what we’re creating there. Which means not fast-forwarding through the drama that they just decided to stop pruning timelines, but also staying in the emotional turmoil that Loki and Sylvie are coming into this season with.

Also, there were certain things in Season 1 that felt like they were maybe a risk, and we didn’t know how the audience would respond. Once we realized that they embraced it, it felt like a lot of freedom to go further.

What did you feel was a risk?

In a very early draft of the script that Michael Waldron had written, that first Time Theater conversation between Mobius and Loki was maybe a couple of pages. And then a lot of other big Marvel-y action things happened afterwards, and we all went, “That’s not the interesting stuff. This Time Theater conversation is interesting. That’s what the show could be.” If we are really diving into the character-driven philosophy and introspection of self, that’s quite different than the last 10 years of Marvel movies. Would the audience follow us along on that? 

Tom Hiddleston famously held seminars on the character of Loki for Season 1. Did he do anything like that for Season 2?

No, because we tried to bring back as much crew as we could from Season 1. It was largely the same team. Obviously, we went from Atlanta to London [for production], but a lot of our department heads carried over, so there was an institutional knowledge that was built in. And Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through.

So even as Kate Herron kind of handed the reins over at the end of Season 1, there is an institutional knowledge that comes with us being the glue between the seasons.

You mentioned He Who Remains and Victor Timely. You finished shooting Season 2 in 2022, but did Jonathan Majors’ arrest for assault in March resulted in any changes to the show? 

No. This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. We went out there with a very specific idea of what we wanted this to be, and we found a way to tell it in that production period. It’s very much what’s on screen on Disney+.

It’s clear that Majors plays an integral role this season, and you just alluded that Marvel usually does additional photography on all its titles. So was there any discussion about making changes to the show, given the uncertainty about what was happening with Majors?

No. And that mainly came from — I know as much as you do at the moment. It felt hasty to do anything without knowing how all of this plays out.

How early into the writing of Season 2 did you decide to cast Ke Huy Quan as OB?

We were in London, so I had at least some version of our scripts. The way the process works, they’re always being rewritten, but OB was in there, and his introduction scene was almost exactly as originally written. I would like to say it was in early spring, which was maybe just two months before we started shooting. We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

So that that Friday, myself, Justin and Aaron, two of our directors, had gotten on a Zoom with Ke. We pitched him the show and this character. We shared that introduction scene with him and maybe the full script. And then we called in the big guns that Monday; Kevin Feige got on the phone with him and said, “Ke, I know you read the script. I know you talked to the guys. We really think you should do this. I really want you to join the Marvel family.” And he had already made up his mind over the weekend. It was like, “I’m there. I’ve been a huge fan of this for a long time.”

In Season 1, the show explored several time periods and locations outside the TVA, but in the first four episodes of this season, you stick to just 1880s Chicago, 1970s London and 1980s in the Midwest. How did you come to that decision to focus more on the TVA and building out its history?

Because that felt like where so much of our core character conflict was going to come from. There was so much intersectionality of our characters and what they think of the TVA. Sylvie wants to burn it down because the apple is rotten, as she says. Loki sees it as potentially the only form of defense against whatever else is coming in a war with Kang. Mobius and B-15, they’ve dedicated their whole life to it. They’re not quite ready to give it up. Renslayer feels like she’s been keeping it together, and you get a real understanding of why she thinks she should be the one to get this thing back on track.

We want everybody to be in the gray area — they’re neither good nor bad. They might make bad choices or heroic choices, but they are trying to figure out who they are. The TVA felt like the place where we could maximize that storytelling and learn more about those characters through that. But also stay tuned, because we are going to more places [in Episodes 5 and 6].

Do you think the TVA could start to appear in other titles in the MCU?

I would love that. Look, I’ve been siloed in on “Loki” for almost five years now, by the time this show finishes, and with every filmmaker who has put their hands on the show, we’ve all had the same conversations: It feels like the TVA could really be this exciting connective tool for all of this storytelling. And we’ve only seen a fraction of it. We’re dealing very specifically with this one smaller department with Mobius and B-15 and Renslayer, but you look out at those vistas — this place is infinite. The exciting thing to us is there certainly are more stories to be told there. We’ve carved out our own little corner of the sandbox and built something cool. We’re hoping that other people want to come and play with it.

One of the things I’ve most enjoyed about “Loki” is how it’s telling its own story, but have you considered bringing more of the MCU into it?

Yes, in both seasons of writers’ rooms. It always felt wrong to go too far outside of the box of things that would directly contribute to Loki’s character arc in these two seasons. So that’s why we get [Jaimie Alexander as] Sif in there [in Season 1], we play with the variants in the void and various levels of Asgard-specific storytelling. But while we’ve had nearly 12 hours of storytelling, it never feels like we have enough time. Eventually, just handling the stories of our ensemble and not shortchanging them has always been priority number one.

Now, Season 1 and 2 were always built to be two chapters of the same book. The hope would be going forward, there are more books that we can tell these stories with. I certainly think that we could start doing that.

Would there be a Season 3 of “Loki”? Is the future of the show finite or more open-ended?

I think it’s open-ended. We certainly did not develop this season going, “We have to tee up Season 3” — in the way that we did with Season 1, where there was a very specific, “Hey, we’re coming back.” But I also think that where this show goes, there certainly can be many, many, many more stories told with Loki in the “Loki” world, and in other worlds connected to Loki, the character.

Do you think Loki would ever rejoin the larger world of the MCU? 

That’s the hope. I don’t want to — yeah. I think the the sun shining on Loki and Thor once again has always been the priority of the story we’re telling. But for that meeting to really be fulfilling, we have to get Loki to a certain place emotionally. I think that’s been the goal of these two seasons.

This interview has been edited and condensed.

[howlingday]

Oscar: Thanks for coming to today's meeting Teams RWBY & JNR- I mean, guys.

Jaune: No problem man, we needed a break from patrolling in the cold anyways.

RWBYJNR mumbles in agreement.

Yang: What's the meeting about, anyways?

Weiss: I agree, why are we here?

Oscar: Good questions, I was just getting to that. See, there's a reincarnation of Ozma that-" *RWBYJNR groan in despair* "that wants to help you guys in using your Semblances better."

Jaune, groaning: "Fine, lets hear him out..."

Oscar: "Thank you Jaune, but be warned. He's a little... Intense."

Ozymodo: "Thank you for lending control of your body Oscar. Now listen up maggots! Names Ozymodo, and i'll be giving what you all might call tough love."

Blake: Wait. Ozymodo? Like the leader of the First Faunus Uprising Ozymodo?

Ozymodo: "The one and the same Ms. Belladonna. Now, all of you are frankly quite terrible at using your Semblances."

RWBYJNR start to get upset at the insult.

Ozymodo: "That's why i'll be offering some... Guidance, as Ozpin puts it, today. If you all want to be the best Huntsmen you all can be, I suggest listening to what I have to say."

Ozymodo: "Ruby, since you're considered the leader, you're up first. Ruby, in general, faster than your opponent - be they Human or Grimm. While you may wield a long range weapon, that doesn't mean you should sit back and snipe all day long. Use your speed to get into enemy blindspots and attack from there. Or, taking a page from my former right hand woman, may she rest in peace, use the blade of your scythe and drag who or whatever you're fighting by the neck until their head comes off."

Ozymodo: "Schnee, you're up next. While summoning defeated enemies is a major part of your semblance, that doesn't mean you should neglect the rest of it. Use your Gravity & Speed glyphs to trip up your opponent and keep the off balance. Never let up on the pressure, and victory will be yours."

Ozymodo: "Ms. Belladonna. You cannot be hit at all if you time your clones correctly. That's it. Use your head and no attack will ever, and I do mean ever, land on you."

Ozymodo: "Xiao Long. Just because you get stronger as you get hit, that doesn't mean you should get hit. You walk a fine tight rope of being strong or useless. Either block more, or get use to lower levels of strength."

Ozymodo: "Mr. Arc. Boost your teammates more and stop just healing. You can not only heal people, but also increase their strength. Help your team."

Ozymodo: "Valkyrie. Carry Lightning Dust. Sure it may be expensive, but in a war for the fate of the world no financial cost is too high. Also, get some easily crushable containers so you're not stabbing yourself midfight."

Ozymodo: "Lie. Scout ahead for any Grimm that may or may not be coming, or lying in wait for an ambush. You can become invisible to them, so there's no need to be conservative with your aura like the more combat focused Semblances. Also, add those Aura Strikes back to your fighting style if you're to still be using 9mm."

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

[dangerousanchorfury]

Jane e Oscar blindspot ❤️❤️ como são lindos

And finally, after forever of sitting half done, joscar vid!

[onewomancitadel]

I'm also thinking about my particular blindspot for Ruby/Oscar, and I think that's just because I really wasn't expecting them to write a romance for Ruby. It is sort of fitting, in that romance and anything related to that is pretty well divorced from Ruby's character - Ruby and Cinder are similar in this way in that they're turned off to the emotional and spiritual world around them. They've both, to some degree, gameified the powers they possess.

But I think it's also sort of ironic how that mirrors Jaune/Cinder; who would expect a serious romance written for Cinder (and particularly involving Jaune)? It's the sort of thing you'd be totally turned off to.

I also think pretty much the thing which justifies Oscar's inclusion into the story above anyone else is, yes, well, a romance with Ruby. He is the extra special character with matching magical eyes and magical curse who justifies his inclusion by having some sort of major narrative impact that isn't solely to do with Ozma - or, it redeems the Ozlem question in some way. That his other major narrative connection is with Jaune is pretty structurally interesting.

When my Best Mate (IRL friend) watched the show for the first time, she instantly called Ruby/Oscar on this basis (without my having said anything regarding the matter). Obviously I still think the ship is up in the air insofar as traditional expectations of canonicity are concerned, but it's not a bad guess.

Upon rewatching and paying more attention to scenes with Ruby/Oscar - well, there are those strange parallels with Jaune/Cinder (this is a weird one), and there is the popularly cited scene where they're blushing and talking past each other/saying the same thing in V7, so I can see it now. I think it's very interesting how your individual preferences and expectations influence what you're actually seeing with narrative.

Then again a lot of this is tied up in how they've chosen to develop Ruby, and admittedly, yes, I did have reservations, because in some ways her character seemed almost a little untouchable and too 'special' as the main character to the point of maybe not having emotional complexity at all. I'd hoped for otherwise but it wasn't something I was necessarily seriously expecting. Suffice it to say, the developments for V8 and this volume I'd really counted on have made me rather happy.

Overall on the Ruby/Oscar point I still think it's a late- and endgame romance. The point popularly cited for making it weird (the whole Ozma curse) is exactly the thing I think is the element meant to make it weird and make it seem impossible (it's a story, it needs conflict lol), but by the same stroke I think that stops the romance materially developing in the way people would expect it (e.g. insta-kiss, feelings confessions). It's probably meant to be subtle and a slow burn.

[dangerousanchorfury]

Jane e Oscar blindspot ❤️

[nachosncheeze]

21 Days of Remi, Day 17 - Asset and Handler

[dangerousanchorfury]

Jane e Oscar blindspot 😍

“Do you have any idea how hard it is to meet with you and not touch you and not tell you that I love you?” 

(Blindspot Season 1, Episode 16 - Any Wounded Thief)

[adamsvanrhijn]

What's interesting is if we'll see how the other characters will react to his decision to settle down. Aurora didn't seem to take it for granted. Obviously there's an expectation for him to marry and continue the family line. But I'm also sure others have picked up on him being a 'confirmed bachelor' or even a little bit 'artistic', if they are worldly enough. I actually suspect Ada could see Oscar being 'artistic', as she seems aware of some pretty modern concepts. She has read about gay people for sure... Agnes seems to be more likely to suspect him of having affairs with women, but she's probably in some hardcore denial. Then again, they have seen that it's not the kind of a trouble Oscar's got himself into. He's always been surrounded by single ladies, and plenty of them have probably been charmed by him, but his family has only seen him acting careless and even 'reckless' with other things.

ada knows a lot more than she lets on and is extremely perceptive, & we're going to see even more of that this season, i think (hence the ada talks about sex bingo square) but i do think after 1.07 it is likely she just has an idea now that oscar is being stealthy and that is all it must have been... although i also think she would have been more inclined to believe oscar when he denied the allegations than agnes for many reasons.

meanwhile agnes lives in denial and only knows things about oscar that she wants to, which includes things she made up, which includes that oscar is not having sex with women or anyone at all and is magically going to be a great lover to a nice wellborn young lady on their wedding night 👍 amen.

aurora....

i cannot fucking parse aurora is the thing. i think it is very telling that she reminds oscar she has Tried Helping Him [secure a wife] before and nothing came of it - and him saying he knows what to do now, and the way he is framing that element of their history and how receptive she is to that... i don't know what she was thinking (& we do know aurora acknowledges the fact that gay people exist.) but i think she's very susceptible to Oscar Just Needs To Find The Right Girl logic (i don't really think she wants her cousin and apparently the only young man alive with her maiden name* to be a permanent bachelor!) & i think oscar is going to lean into that hardcore.

tbh it is important to remind ourselves i think that oscar has a reputation as a fortune hunter before the series starts - but we can infer from his interactions with his family and with john especially that he has not been developing this reputation with much drive until within the first season, and then Everything Changes, as we very well know.

i think oscar is delulu <3 & thoroughly in denial if he truly genuinely thinks that nobody is Wondering about him yet, and he still has Time before this will happen. he is So gay. the show is taking steps to single him out in this regard in terms of e.g. fashion and bearing and manner and vocal qualities etc. he is Ticking Boxes. and generally oscar sees only what oscar wants to see.... i would say of his family members, aurora and ada are most likely to have Ever considered any of this in direct regards to oscar, and i think honestly they might not want to think about that for a variety of reasons and so maybe they haven't!

marian knows about gay people but needs impropriety explained to her with the subtlety of a brick to the face so she's not parsing that without evidence in front of her nose, imo. which is why i'm hopeful that she eventually is in a position where she does encounter and has to make a decision about what to Do with that evidence.

and agnes, as i've said above and elsewhere.... agnes doesn't see anything she doesn't want to and she has major blindspots about oscar for that reason.

* aurora van rhijn fane isn't Confirmed confirmed but also it. got pretty close on sunday so hoping we do get it ocnfirmed-confirmed by end of season.

[intoxicatingimmediacy]

Ethan Hawke has started production on “Wildcat,” a look at the life of Flannery O’Connor that stars Maya Hawke as the Southern writer. He’s assembled an ensemble of heavy hitters that also includes Oscar-nominee Laura Linney (“You Can Count on Me”), Philip Ettinger (“First Reformed”), Rafael Casal (“Blindspotting”), Steve Zahn (“White Lotus”), Cooper Hoffman (“Licorice Pizza”), Willa Fitzgerald (“Reacher”), Alessandro Nivola (“The Many Saints of Newark”) and Vincent D’Onofrio (“Law & Order: Criminal Intent”).

[etruatcaelum]

reflect — is your muse able to self-reflect? do they use this reflection to improve or not?

Salem.

Her semblance has entire rooms dedicated to self-reflection and she has spent thousands of years deliberately whittling away her capacity for self-deception to the point that nowadays she really can’t lie to herself. Being able to see herself clearly, without distortion, is very important to her. And in the event that she sees something in herself that she wants or needs to change, her semblance allows her to do so fairly rapidly and cleanly—it’s a literal matter of renovation of her internal landscape.

Her one big blindspot is that a central pillar of her self-conception is that she is fundamentally selfish and fundamentally unlovable because of that selfishness. She’s internalized the belief that she is a dangerous monster to such a degree that it’s become invisible to her, as much an integral part of herself as her own name. Ripping that out and replacing it with a new pillar once she identifies it as a distortion is going to be… arduous. In the meantime it’s the foremost driver of her extremism: she takes it as absolute fact that she cannot ask for help and that the only people capable or interested in seeing her as a person are those who have been thoroughly broken and cast out themselves.

Ozma.

Only when they’re dead.

The nature of their reincarnation—the dissolution of each host into a hollow reflection of Ozma’s own worst self—the whole point is to prohibit change and prevent them from breaking free. The closest they’ve ever gotten to doing so was in the life they spent with Salem, but the horrifically traumatizing ending of that relationship locked in all the wrong lessons: that listening to their heart only brings pain, that telling the truth is dangerous, and that the God of Light spoke true when he condemned Salem.

When they’re dead and just themself in the white void between life and death, they’re able to see themself more clearly—but it’s almost impossible for them to hold on to whatever insights they realize whilst dead once the next cycle begins, because it’s painful and incredibly disorienting to be drawn into a new body and they get flooded with bits and pieces of the host’s self right away.

However, once the curse is broken and they’re freed? They do have about four thousand years��� worth of revelations and epiphanies that they’ve had while dead—often multiple times—repressed deep down in their subconscious that will rise pretty fast and which Ozma will finally be able to actually act upon.

Summer.

She does not spend a lot of time thinking about herself or looking back on the past; Summer prefers to live in the moment and look to the future. But—after she commits to staying with Salem—she does do a fair amount of introspection through the mirror of Salem: the two of them are… pretty similar in a lot of ways, and understanding Salem better also led Summer to a better understanding of herself.

Which is both good and bad, really: seeing Salem as a person helped Summer to also see herself as a person, something she desperately needed, but that intense identification with Salem also caused her to fall into the same trap of desperation.

Oscar.

He spends a lot of time ruminating or dreaming, more than self-reflecting—that was true long before Ozma happened to him. In part because of who raised him, Oscar finds it a lot easier to introspect out loud, in conversation with another person; he can describe himself for someone else more accurately than he can see himself alone, in a way.

This… becomes something of a double-edged sword with Ozma, because he can have conversations in his head about himself, but those conversations are with somebody who is insistent that Oscar eventually has to become them. Not great for honest self-reflection or personal betterment! He does, however, try his best to keep growing in a direction that he can be proud of.

Cinder.

She would rather die.

The primary reason she struggles so much with the grimm arm early on is her fragile sense of self and her reluctance to honestly interrogate herself. She circumvents to a degree by getting used to it and beginning to think of it as hers, but the shallowness of her self-knowledge is what makes her vulnerable to Salem’s partial control over the arm.

Watts.

He holds himself to a rigorous standard of self-honesty regarding his skills and motivations: if he says he can do something, he can. His high regard for Salem stems partly from his admiration for her willingness to be flexible, admit error, and correct course—traits that were notably in short supply in the command chain of the Atlesian Military. And if he discovers a fault or shortcoming in his abilities, he’s very quick to rectify it.

Where Arthur falters is with interpersonal relationships and emotional honesty. He has no problem expressing anger or disdain; but he’s not in tune with his other feelings and his ability to express genuine care is, to say the least, very atrophied. So when it comes to reflecting on interpersonal conflicts… he will almost always find a reason to blame it all on the other party. Salem could pry an admission of wrongdoing out of him if she put her mind to it, but it would be a heavy lift, and anybody else? Good luck.

Henrietta.

She is allergic to sitting around thinking about herself, but she’s also not at all inclined to bury or ignore things: Henrietta just kind of tackles things as they come. (In a way, she has a lot in common with the Afterans; she knows exactly what she is, she’s happy that way, and she’ll change if and how she feels the need to. Although if she made it to the Ever After she’d probably be a bit scornful of the idea of needing some magical tree to fix her up, she can do that herself thanksverymuch.)

She, like Oscar, and to a much greater degree than him, needs to talk through things out loud in order to process them. This can make her come across as self-absorbed, but she isn’t really—she just does her thinking out loud.

Elah.

The bulk of his thinking and pondering is about the deep questions of the universe moreso than himself. When Elah does reflect on himself, it tends to be in the context of his cosmic insignificance and the liberation he feels in that insignificance—he’s very much the “nothing matters! :D” type of nihilist. (Although, unlike Tyrian, he is not about annihilation: he’s a hedonistic philosopher driven by an obsessive need to describe meaning.)

That’s the sort of self-reflection that flings him headlong into occult obsessions and makes things like “eat atrum to learn more of the grimm” sound like good ideas. If it ever leads to personal growth and improvement, it’s probably by accident.