#pota trilogy

[ndcgalitzine]

I just watched Rise and Dawn of the planet of the apes back to back for the first time in years and GAAAAHD these movies are even better than I remembered. Can't wait to watch War tomorrow. Have only seen that once in the theater.

[iloveschiaparelli]

Kingdom of the Planet of the Apes: My Love Letter Part 1

Okay okay okay SO Kingdom of the Planet of the Apes longpost time just my whole opinion/analysis/love letter for the whole film beginning with my Wes Ball backstory so skip to the Ruin screencap if you want to skim past all that.

I haven't talked about it on tumblr yet but I'm actually like a huge fat fan of the Maze Runner cinematic series directed by Wes Ball. Really I'm just a fan of Wes Ball. It not only singlehandedly got me through my first year of high school but also became the reason I ended up entering the film industry. I've watched all 3 movies at least 4-5 times each. Probably like 20-30 for Scorch Trials at this point because it's my favorite. I can quote probably at least half of it from memory. I've watched all of the BTS content that was on the DVDs + the bloopers on youtube like i was obsessed ok.

2019 was like the second worst year of my life so imagine my distress in january 2019 when I found out about Wes Ball's next movie, Mouse Guard, got Super Hyped Up for the multimillion dollar mice-with-swords movie (I eventually read some of the comics btw it's insanely good) And then within the same week found out Disney pulled the plug on the project after acquiring 20th Century Fox. TWO weeks before production was scheduled to begin. I was livid. I'm still bitter about it. Wes Ball then released the demo reel for the film to the public which iirc also had temp music.

So anyway yeah that was awful but then! I think it was later in 2020 that it was announced that Wes Ball was going to be directing the 4th POTA movie. This kicked off me seeing the original 1968 film and then the trilogy and wow did doing so increase my excitement. In my opinion Rupert Wyatt/Matt Reeves' directing styles and Wes Ball's were/are very compatible. I also took the time to get caught up on as much of Wes Ball's old projects as I could get my hands on at the time, including his animated short Ruin (screencap below). Which is fantastic BTW and apparently was purchased by Fox for a feature film that was never made (???) I swear, filmmakers have their past works splattered all over the internet like body parts after a landmine explosion: Good luck finding everything.

Now, Finally Finally FINALLY!!!!!!!! Kingdom of the Planet of the Apes is out. I meant to see it on the premier night but my boyfriend broke up with me 2 days before so I forgot. I saw it tonight instead! So now with the backstory out of the way I can finally talk about the actual movie.

First of all, the beginning of the film absolutely WOWed me!!!! It honestly feels like a callback to Ruin, the way that the buildings are overgrown and the post-apocalyptic setting is super evident and feels so delightfully reclaimed by nature. It's also really neat to see how far VFX has come since Ruin was released if you compare the opening shots of the movie with the wide shots in Ruin. Wes Ball himself is also a VFX artist, so it's really neat to see how that affects his work especially since Planet of the Apes is by nature a very vfx-heavy franchise. This movie absoutely popped off in that area but we'll get to that.

Secondly, I forgot how much I missed Ball's directing! Oh my goodness, the performances he gets out of the actors are always so authentic. I still have yet to see a performance by Dylan O'Brien that was as raw and believable as in the Maze Runner movies, and I'm like halfway through Teen Wolf already. In the action scenes especially, I love how characters in Ball's movies, you can really feel their pain. Since pain and physical discomfort aren't communicated directly through film, we often forget just how hard it is to get back up again after getting kicked down, but with Wes Ball you never forget. Ugh, when Noa was getting beat up on top of the bunker at the end of the movie, I caught myself catching my own breath when he coughed up blood. Like, yeowch!

Additionally, everything this man makes is just, like, a masterpiece? On a technical level at least. That's really the mark of a good director, whose job is not only to evoke a performance from the actors, but also to tie together the whole crew. And KOTPOTA really showed off how well the team worked together. Just the establishing shots alone in a lot of these scenes! Oh. My. Word. You can clearly see the fruits of labor of not only the concept artists, but also the VFX artists and production designers, and how they worked with the DP and actors to get the shot. Here are some examples of what I'm talking about:

There are more that I'm thinking of, but unfortunately without a digital release available yet there's a limit to the screencaps that I'm able to obtain. The shot where Noa is walking up the escalator following Raka and you see the plane in the background indicating that Raka lives in an airport is one of them. There's also one or two establishing shots in nature that just show off the setting. The opening shots, of course. And then the shot where it pans up and you see Eagle Village for the first time. There's also an aerial of Proximus Caesar's camp, but I'm unable to find that one as well. The main one I want to look at is the telescope.

Just, like, Hello???? It looks like an art piece. This screencap is a little closer in than I'd like, but in the full frame you can see the absolute mastery of composition that it is, you can totally imagine it as a painting. Which in my experiences usually means there's a painting behind it somewhere in the process, lol. Let's go concept artists!!! But then you see how the colors are just, perfectly balanced, the plant growth is realistic and accentuating the set, and so on and so forth. It was just absolutely breathtaking to see for the first time. I'm pretty sure I audibly gasped. I did a lot of stimming during this movie just to stay quiet and not start babbling about the film pipeline to my father in theater auditorium.

Even more magic happens when Noa steps onto the set, and starts messing with the telescope. Suddenly it's real, it's tangible, it's touchable. Transforming what was likely a matte painting at one point into a set that the actors can interact with, and then into a shot where almost everything is overlaid with VFX, and having it look so real like that is truly magic.

The ship also had me dumbstruck, but slightly less so because we saw a similar setting in The Maze Runner: The Death Cure in 2018. Although it was slightly different for sure. What had me going even more in this movie was how much the characters interacted with the ship, moving in and around it, and trading glances with one another from on the ground and up inside. In TMR:DTC, you really only see the decrepit ships in the background, and one is referenced as a plot point but the characters never actually physically interact with any of them. So it's much easier for our brains to categorize the ships as gimmicks to help us believe the scene.

It's when props like these are woven into the scene as tangible objects that our brains start to shut up about the CGI and really start to believe what's happening onscreen! and KOTPOTA did an amazing job at this. Please bear in mind like, I literally have zero specialization in VFX, it's not my field and although I draw, I've never done concept art for film. I honestly believe that I'm simply in an appropriate level of awe for what this film accomplished.

The other thing that amazed me was how stylized the setting was. The greenery was so green, the ocean felt like a painting, the ship was red, the telescope shot is very, very blue. Several of the shapes used in the ape's costume design are simplified. And yet, despite the stylization, it never feels cartoony or polygonal, it still feels completely grounded in reality, and I could really believe I'd see it in real life. I think this owes partly to the fact that we rarely inspect any of these simplified items at a close distance, aside from Raka's necklace which appears to be made of either bone or whittled wood. It also owes to absolute geniuses in color grading that kept the stylized colors realistic enough for our brains to believe. Overall I'd take the visual style of the film to be Impressionist. I love impressionism.

My main interest in filmmaking is writing/directing. However, most of my experience lies in costume design (Student films rarely need costume "design" so its usually coordination) and production design. As a result I spent a good deal of my time watching KOTPOTA zeroed in on the production design.

I love post-apocalyptic science-fiction/fantasy worlds like this partly precisely because of how much you can learn from the production design alone. When Mae enters Trevathan's room for the first time I swear I was eating it up. Every single prop in this movie was carefully thought out by the PD, which is why his room absolutely stood out from the rest of the setting that we had seen up to that point. It was distinctly "human-centric" as opposed to the rest of the movie. I remember seeing it in the theater earlier today, laying eyes first on the bed by the door, thinking that it must be something they set up for Mae, but then wondering why or how the apes would know or want to set up a human-style bed for Mae when we're so many generations removed from human-dominated society.

Next it was on many miscellaneous table objects, thinking to myself "That looks like how a human would treat a space. Apes are generally too big to decorate at that scale." and then my eyes roved on to the furniture, seeing a human-sized table, human-sized chair, human-sized junk everywhere! Slowly, by observing the room, I gained a stronger and stronger sense of "there is another human here," which upon observing the rows and rows of books became "a smart human like Mae, who unlike her can read" (Remember at this point we still believed that Mae and her mother were the only smart humans that Mae had known growing up, and that she had been pursuing the opportunity to meet other smart humans and join them).

It was only upon the instant of realizing that this was a smart human that Trevathan spoke and appeared on the stairs. It was absolutely perfect timing. THIS, guys, is exceptional production design. It was honestly my absolute favorite piece of production design in the entire film, especially because of how much it contrasted what we've become used to seeing in the series as humans have diminished in population and apes and nature have taken over the space instead.

That exact sense of change or "otherness", that noticeability of contrast upon seeing what is honestly a pretty "normal" human space if you look at it in the context of our existing society, is only present because of how well PD treats the rest of the movie. In order to make a completely normal space feel strange, you have to change literally every other space to something alien but consistent with itself. And KOTPOTA does just that. The job was begun in the original trilogy, with the decline of humanity depicted across decades, nature taking over the gas station and the dam and even the city. But this movie had the biggest challenge because of simply how many years had passed before the story even began. Society as we know it today is completely and totally obliviated in KOTPOTA's setting. In every set that the characters interacted with in any way, PD had to fabricate a space where humans had been but the virus, decades of decay and post-apocalyptic living, and ape encroachment had transformed it.

This also brings me into the subject of the rich culture we see emerging in the world of the apes through this movie. The original trilogy, especially the first and second film, was all about the ape's identity. In the first film Caesar wonders whether he is human or ape, and whether apes are pets or equals to humans. He eventually comes to the realization that humans are never going to look out for apes the way that apes will and decides to become that person. In the second film, Caesar and the other characters involved have to figure out what being an ape means. Does it mean strength is power? That humans are always an enemy to defeated? Or a similar species to live alongside? It's about establishing what the ape race's relationship is to the human race. The third film I didn't get to rewatch before seeing KOTPOTA, but iirc it was about whether humans and apes could ever coexist, which is a theme we see continued in this movie, albeit in a slightly different way. Either that or more likely it was about whether apes will repeat the same mistakes as humans.

Anyway, I digress. In the script we already see a rich culture emerging in hints, right from the start of the movie. It's in the hunt for the eagle eggs at the beginning with mentions of some kind of coming-of-age ceremony, followed by Noa reminding Anaya and Soona that they must "leave one egg always. It is the law." Already in the first five minutes we've established that this particular ape civilization not only has cultural traditions surrounding youth and coming-of-age, but also rituals and laws surrounding their relationship with and the conservation of nature. And through dialogue we extrapolate that these apes have bonded animals (eagles). It honestly felt like a crossover between Native American Indian hunting practices and How To Train Your Dragon, which is wild I know. (Also can we talk about how the eagles in this movie actually made eagle sounds???? And not falcon sounds! Finally we're breaking the bad habit of making up animal noises to sound cooler when the original already sounded super cool by itself.)

So in just a few minutes guys!! We already have so much. Then the trio heads back to the village and has their first encounter with the Echoes (Ekos? If anyone could get spelling on that for me that would be fantastic) but are too afraid (or law-bound) to get too close to or cross through the tunnel "into the valley below". So through these we establish that there is a taboo around not just humans but also around leaving the village. The clan has taken an isolationist approach wherein they not only forbid their young clan members from leaving but also withhold information about the outsiders from them until they've come of age. Guys the cultural system arising here is absolutely wild. Like sorry not sorry but I eat this stuff up. (Screenwriters-- this is prime example material of "show don't tell")

There's also all of the ape social communication rules that we've already gotten used to, mainly a variation of the palm-up/palm-down gesture as a means of showing respect (submission) and asking for permission/approval.

In this movie however the hands are mostly closed and the palms are down for the sub as well as the ape they're seeking approval from, as opposed to the trilogy in which the submitting ape always had their palm up. At first I chalked this up to cultural differences among clans since we learned that this clan is not the clan descended from Caesar's apes in the trilogy, but then Caesar's descendants were doing it this way too? So I don't really know what to make of it but I'm going to decide that it's just global cultural evolution (at least, as global as the real-world evolution of Old English into modern English).

Through the production design of the beginning sequence in Eagle Village, we see that the eagles catch fish and then the vast quantities of fish and the smokehouse indicate that fish caught by the eagles are the main source of food for the Eagle Clan. We also see feathers as a motif throughout, worn especially by the parents and the elders as a sign of social status (we know it's social status bc Sylva rips it off of one of the elders as an intimidation tactic and everyone audibly gasps, indicating it worked). That last bit is honestly more costume design, they popped off too but one thing at a time or I'm going to become incomprehensible. I will repeat myself. It is inevitable.

Then throughout the film we learn that not only do they adhere strictly to the "law", but that that law is set by the elders alone. We also learn that they primarily relate to their eagles by singing to them which!!! is just!!!! so!!! metal!!! I love it. The way it plays into the end scene with Proximus just AGHRGHJHRHGR GROWL BARK BARK FERAL NOISES>

ahem

Also we see them building nests at home for their eagles and they've figured out falconry tools for the aerie and everything on their own like??

Then in contrast we see what's left of Caesar's clan, it's descendants. Proximus Caesar, we learn later from Trevathan, has gone completely fangirl over the ancient roman empire and decided to emulate it because "he likes it" and it makes him "feel good" (yeah he's probably the most textbook tyrant I've ever seen in media), choosing to morph Caesar's teachings into his own new worldview rather than adhering to them properly.

So the culture of Caesar's clan is very heavily roman-influenced, often copying practices outright such as the insitution of slavery, a lot of the fashion choices and even the way that banners are put up around the camp and the way that Proximus dines at a low-set table filled with an overabundance of food. And he has a throne and crown, and there are roman numerals inscribed on both his and Sylva's necklaces. But we still see influences of Caesar's original society, most noticeably the persistence of the window symbol and the architecture of the dam. The architecture wouldn't be significant at all, instead being noted as a stylistic choice for the whole series, if it weren't for the fact that it's different from Eagle Clan's architecture.

If Eagle Village resembles those spaghetti bridges that engineers build for class, with thatched roofs, then the dam at Caesar Clan's camp is much more brutalist by comparison. Eagle Clan was very spindly and focused on height and lightness of building materials: many of the logs were thinner and longer, more spaced out, and sometimes rounded at the ends. By contrast, Caesar Clan's dam is built with stumpier logs, closer together, and spiked at the top. The dam is also shored up with soil and other materials. Which yeah, is typical of beaver dams but is also typical of the structures in the original Caesar's village in the trilogy.

Unfortunately, there's only one image currently available of Eagle Village and it's after it was burned down. But you can still see how it differs from Caesar's village, instead of being chaotic it's more organized, allowing for a more lightweight structure.

This (below) is the closest I could get to having a picture of the dam's architecture, but you can still tell how it's more similar to OG Caesar's architecture than it is to Eagle Clan's, even though it's using a completely different building material (scrap metal instead of hewn trees).

Eagle Clan's architecture is also a further effect of how their society revolves around making a life bond with eagles, which are flying creatures. So of course they would be inclined to taller structures, especially ones that are more lightweight and have structural patterns, imitating the way that birds are built (see above).

I'll continue in part 2 as a reblog because it's 1 am and I'm running out of steam but YALL I need you to understand: It's been 6 years since the last time I had a Wes Ball film to overanalyze and rave about. I have SO MUCH to say about this film.

[artzyleen]

..."she spoke...she called my name"

my TikTok

Once again tagging these amazing accounts for inspiring me to stay creative ✨💕

@rosemilo @squishyghostie @crimsonmoonlight88 @kidasthings @xplore-the-unknwn

[monstatron]

i’ve mostly been keeping my planet of the apes stuff between myself and moots but i couldn’t contain my enthusiasm about proximus and silva :P

enjoy a quick sketch i did to get back into art after not drawing for a bit! and to anyone seeing movie, enjoy! i’m seeing it this friday!

[kaliido-s]

apparently koba’s eight years older than caesar

[ranminfan]

Because I have nothing to post 'cause I'm so busy, and Kingdom just came out, I am giving this fanbase this edit that's been in my drafts for three years.

Blue eyes, I love you, but Caesar though...

[sweetsoona]

Watched more deleted scenes and it’s so clear that Mae saw Noa as a potential friend. Not just as a tool to use or an inevitable enemy.

During the campfire scene after Mae reveals she can speak, her and Noa were going to have a moment to themselves where they were going to talk about what they saw in the telescope & about the meaning of dreams. It was a very vulnerable conversation of Noa talking about his father and Mae talking about her mother. They were bonding not only over their mutual confusion about stars and space, but also over their parents.

Towards the end of the convo, Noa says something self deprecating and Mae stops him, saying he’s different from the others, before she walks away to sleep.

It was a really nice, touching moment between the two and I don’t think Mae was lying. Even she seemed surprised by her own sincerity. Like she’s still grappling with the idea that maybe Noa is different. Maybe apes aren’t all the same. Like this is the start of a very small seed undoing her preconceptions.

The scene definitely wasn’t them becoming besties, they’re still very far from that if they reach it at all. But I think Mae was beginning to see the POTENTIAL for a positive relationship. Something she didn’t expect traveling with an ape.

Which makes the finale where Mae holds the gun behind her back even more heartbreaking. Because she fears she might have to put down one of the VERY FEW apes she didn’t have to be afraid of. That she might not have had to be enemies with. Raka and Noa are the first apes she’s ever met that treated her with kindness, mercy, and compassion. Raka died saving her life, and now she might have to take Noa’s. It’s excruciating how alone Mae is.

But then Noa reminds her that maybe friendship between apes and humans is still possible. And Mae says she doesn’t know, but then she accepts Raka’s necklace and cries and leaves in peace, and it’s clear which path she subconsciously prefers (co-existence), it’s just going to take her some time to reach the conclusion herself.

While the deleted scene had to be scrapped because the subplots it covers got scrapped, I wish at least another version or rewrite of it had been made so it could’ve kind’ve stayed. That moment of them letting their walls down by the fire was really touching!

❌ Don’t tag as ship ❌

[acoraxia]

disclaimer: knox did in fact tell me like 8 times to put on their hoodie because otherwise i’d get sick and i said i’d be fine and proceeded to get sick on my birthday

thanks @ninja-knox-ur-sox-off for being canadian

[itsdeanwinchester]

Having seen Kingdom for a second time, I can kind of see what some folks meant when they said it's kind of slow. I'm guessing they're talking about the first half, especially of scenes of noa struggling on his quest to get his clan back, and you watch him be so alone, and be taunted by eagle sun, bearing all that silence and loudness all by himself. I can see why people who have no patience for character interiority would think that all of that could've been cut out. Not me, though. I love that stuff. I love scenes between characters where nothing is said, but their actions and expressions tell everything.

[fragglez]

is there even a fandom or is it just me

[snailwitdamail2]

calling it now. the new apes trilogy is gonna have an ape/human kiss like the og movie did.

[liquidsludge]

So for days 5&6 of villain tober, i thought i would move away from the transformers franchise as i could go on all month with those. No for day 5 of villain tober i thought i should draw one of my favourite villains from a very underrated franchise. So for day 5 of villain tober we have…

KOBA from the planet of the apes modern trilogy!!!

[artzyleen]

✨ Owen Teague at the LA premiere for Kingdom of the Planet of the apes ✨

[tarabyte3]

I made some Andy Serkis blorbo themed autumn/horror moodboards for spooky season. 🎃🍁🔪🩸🧡

PART 2

(Note: These are all far more horror/spooky themed than part 1)

Ulysses Klaue, Age of Ultron (2015)

Ulysses Klaue, Black Panther (2018)

**I had to make 2 for Klaue. His vibes are so different in both films that it was the only way I could wrap my head around it

Caesar, The Planet of the Apes Trilogy

Glen, Wild Bill (2011)

Lumpy, King Kong (2005)

Hoodwink, Sugarhouse (2007)

Ghost of Christmas Past, A Christmas Carol (2019)

PART 1

[blogthebooklover]

My Theories/Takes On The Next Two Movies In The "Noa" Trilogy.

I'm mainly focusing on the current "Noa" trilogy (hopefully) for the reboot Planet of the Apes franchise. There are also some takes/theories I would like to see happen in the next two movies, or being inspired from other films. I mentioned some of these scenes on discord, and I'm including other ones as well. Keep in mind, this is all just for fun.

Noa Gets Captured a la King Kong Style

If the second movie focuses on mostly Mae's arc after the end of Kingdom, I imagine a scene similar to King Kong 2005 (didn't Owen Teague also mention this is one of his favorite movies?) Maybe Noa is trying to get Mae back for whatever reason, however, her colony sets up a trap for him and Mae tries all that she can to not see him get hurt, and this time by her human companions.

And maybe a following scene where Mae meets Noa a la Disney's Pocahontas.

2. Mae and Noa Reunion

I imagine a scene similar to Spirited Away when Mae and Noa reunite in the second (or maybe third) movie. Whether this happens before or after Noa gets captured, I'm not sure, but I digress. Plus, didn't Wes Ball mention he's also a fan of Miyazaki/Studio Ghibli movies?

3. Mae and/or Noa Gets Hurt/Saved

Okay, for this one I imagine three or four different scenes.

First: a scene similar to the ending of James Cameron's Avatar; when Neytiri saves Jake's human form in the trailer. I imagine this can work vice versa between Mae and Noa, and maybe at the end of third movie. Most likely to be closer to this version.

Second: a scene similar to the ending of Star Wars: The Rise of Skywalker. Specifically the scene where Ben/Kylo saves Rey with the use of his force. I imagine a scene like this happening in the third movie as well.

Third: a scene similar to Peter Pan 2003. Specifically the final fight scene. Once again, more likely to happen in the third movie.

Fourth, and saved this one for the last part in this section: a scene similar to The Fox and the Hound, and yes, THAT SCENE! Once again, this could work vice versa (Mae stepping in to protect Noa, and/or Noa stepping in to protect Mae). I can imagine a scene like this happening in either the very end of the second film, or perhaps the third.

4. Noa Has a Whole Monologue Moment

SPOILER ALERT: this is from Conquest of the Planet of the Apes, and imho this is SUPERB A+++ WRITING AND ACTING from Roddy McDowall, Harry Rhodes, and screenwriter Paul Dehn (Owen Teague has to show OFF his acting abilities). I imagine a scene of Noa giving a monologue about protecting his kind, maybe at the end of the second movie.

Side Note: I also highly recommend buying the Blu Ray compilation pack of the OG franchise, it has some great behind-the-scenes features/documentaries, and I especially recommend watching the one about Conquest.

5. Noa, Anaya, Soona & Mae Find A Recording of Will Rodman

This was in my head for a while now, I mentioned this on a discord server, and this is something I can totally see happening maybe at the end of the sequel or some time in the third movie. The trio and Mae find a video recording of Will (James Franco) confessing that HE was the one that caused the Simian virus, that it was originally supposed to be a cure for dementia/Alzheimer's. While he was taking care of both his father Charles (John Lithgow) who was sick from Alzheimer's, and eventually his adoptive son Caesar (Andy Serkis) who was born with the ALZ112 in his system due to his mother being one of the test subjects for the cure; Will reveals he became determined to continue working on the medicine to help eradicate Alzheimer's altogether.

He was working on something that was supposed to help society, not destroy it and cause the downfall of humankind. And because he couldn't take it any longer of seeing his own father regressing further into his illness.

After everything that happened in Rise, to the beginnings of the Simian pandemic, and eventually Caroline's death during the full swing of the virus, he sets up his video camera system on his computer and gives his last confession before either dying of the virus himself; or perhaps (TW) taking his own life (possibly off-camera).

And after the recording is finished playing, the quartet are stunned in complete and utter shock of this revelation. Now obviously, Mae knew about the virus, however, she had absolutely no idea about its true origins until this point; or her authority figures from the bunker KNEW, but kept it as restricted knowledge for only the higher ups to access, while the rest of the surviving humans only know what they were taught from their history lessons (sound familiar?). Meanwhile, this information is once again obviously, A LOT to take in for the ape trio; especially for Noa.

I'm not entirely sure if Noa would distant himself from the others, or become standoffish, (at least according to the deleted scenes) my poor boy is going through the process of an enlightened mind. On the other hand though, I do see him becoming slightly standoffish, considering his reaction to the picture book from the vault.

Will Rodman (James Franco) is probably the only other human character I imagine returning, from the Caesar trilogy.

6. Mae's Story Arc

If Kingdom ended with both Mae and Noa, since the beginning is very heavily focused on Noa's story (to be fair, it IS the classic Hero's Journey). I think the second movie might lean in to Mae's storyline/arc just a little bit more. I do think she's going to remain an antihero/heroine, maybe sharing similarities to how Caesar (not entirely, maybe a sprinkling here and there) was in Dawn, but I don't think she'll go down the path that Koba eventually did.

I think she's still going to remain conflicted about where her loyalties lie between Noa, the grief of losing her team (possibly her entire family) from Proximus's apes, and the fate of whatever is leftover of humanity. To add to this, I also think Mae is going to have PTSD and develop some unhealthy coping mechanisms after everything that happened in Kingdom. I've seen someone on discord talk about the possibility of her becoming a double agent (again, to be fair, the context was a fanfiction AU, but I digress). I absolutely love the idea for Mae, kind of similar to how Jake Sully was in James Cameron's Avatar, before he eventually feels something more for the Na'vi and Neytiri.

While she acts as a double agent for the humans and apes, Mae begins to slowly heal from her trauma when she's with Noa and the rest of the Eagle Clan, and maybe a couple of human allies who also act as go-betweens.

And maybe when she's with the people from the bunker, she can only stay in the quarantine areas, and the only other human(s) she interacts with will probably be either a doctor or nurse (get it??? Shakespeare anybody???)

7. Noa's Story Arc

I'd like to see Noa still learning his role as a leader of his clan in the second movie, we see a bit of this during the flood in the bunker. However, he too is also conflicted about his new view of the world at large, after his alliance with Mae and the whole Proximus Caesar incident. Would he continue to learn about leadership within the confines of his village? Or would he want travel to new areas away from the Eagle Clan, to learn more about this post-apocalyptic world, and the various other ape clans; or underground human communities? Or would he be on the cusp of a dark path himself?

Personally, I have no problem with sweet and naive characters going down a dark path, however, as long as there's a new take on the trope. While it would be interesting to see how Noa's trauma from the events in Kingdom would play out in the next two movies; and maybe it could work as a reverse of Mae healing from her own trauma. However, at the same time, I really really don't want to see him become a thematically dark character.

Like Mae in the aforementioned, I think Noa might also develop PTSD after the events in Kingdom. Whether he finds his own way of healing from said trauma, or dive further into it; hence the darker path previously mentioned, it is up to the screenwriters for the next two movies where Noa's mindset will be. On the other hand though, I would like to see both Mae and Noa learn how to heal together from their traumas.

Hence, Raka's last words to them: Together Strong.