#set analysis

[scrimblyscrorblo]

Idk if anyone has talked about it yet but the set design for Nerdy Prudes Must die, most not only the massive walls decorated with writing from the students.

Upon first watch you see your typical phrases like “You’re next” “Lock your door” and “Jäger’s Coming For You” which you assume relates to the relentless bullying throughout the school and how the students fear max.

And then as soon as max dies, the writing on the walls for the audience takes on its dual meaning of warning the characters of their oncoming suffering and/or demise

I just thought it was neat and wanted to point it out cuz the school walls are one of my favourite details

[kandelia-mangrove]

Can we talk about how in the show Lestat and Armand are framed as narrative foils. Armand and Lestat who are both so aggressively theater kids, but Lestat who acts, who draws in the attention and holds it, and Armand who directs, who shapes and manipulates the narrative. Armand and Lestat's obsession with Louis and his love and frustration with his melancholy over Lestat and Claudia respectively. Who both felt second in his heart. Who fear loneliness above all else. Lestat taking what he wants to excess - no impulse control, and Armand letting things happen to him and trying to manipulate situations to get what he wants but never taking it. Armand, who even in the end, so much more powerful, never physically imposes himself on Louis. Armand who seeks complete control in subtle insidious ways. Lestat who seeks control in the physical. Armand and Lestat brought into vampire life in horrifying ways tangled up with SA. Armand who still talks about his maker with reverence, Lestat who hates his maker. Armand who pours all of himself into his partner, willing to shape himself into what they desire but ultimately needing control to feel safe. Lestat who pours all of his love into his partner but unwilling to change himself and ultimately cedes control in moments to maintain the relationship. Armand who clings to his breaking apart relationship for 77 YEARs, Lestat who let Louis go. Lestat and Armand who watch Claudia die, but one as a father and one as a murderer. Lestat and Armand so intense in their love but Lestat so painfully external and Armand so painfully internal as characters. Both constantly acting and putting on a face. Lestat as Mozart and Armand as Salieri (in the flashback scene!). Armand who loves routine and structure and repetion, Lestat who craves change and excitement. The calling cards are echos, who learned from who. Armand teaching Lestat the vampire gifts, Lestat teaching Armand a new way to live. on and on....

[coralnoodle]

WHAT THE HELL IS LAB SAFETY!!

[aduckwithears]

Ok so I know I posted the whole set, but I keep coming back to this particular moment-

Because look at this whole situation. Aziraphale steps forward, directly into Crowley’s shadow. Not only is he getting closer, right into his personal space, but suddenly Crowley's face is going to be a lot clearer, not backlit anymore. At the same time the Crowley's hand retreats just a little from almost grabbing and dragging Aziraphale's cravat to doing a pointy finger. And then we have-

Where the eye contact is basically the most indecent thing I've ever seen. It's just... a lot.

[neahtrix]

Let me pull out my film experience for this:

The one way sign could be indicating that there’s only one direction for Mike to go- the closet. And whilst, yes, that sounds comical, it is. It’s a very much in your face sign that he has only has one thing to do which is accept himself.

Also, the window in the mirror of the closet using natural lighting might symbolise how ignoring it may seem the ‘natural’ thing to do but the high-key warm lighting in the wardrobe creates a sense of home and belonging.

With the lamp in the corner using the same lighting to highlight Will’s drawings also shows how that type of lighting symbolises acceptance of himself and his true personality.

‼️I FUCKING LOVE FILM‼️

(Also all of this could be true cause someone had to say ‘put that sign there’ or ‘use that lighting’ at some point so all of it was a conscious decision)

was talking to moot @reo-bylerwagon about how s4 is the first time we've seen mikes room since s1

we don't see his room at all in s2 and s3, just 1 and 4 (and we will see it again in s5, but this is just about 1-4)

why did we need to see mikes room in s4 after it not being necessary in 2 and 3? it's just a few seconds. they spend time designing his room, getting props and lighting and all the other stuff for just a few seconds. why did we need to see his room? why was it so necessary?

extremely easy question. to show his queer coding

[tryingonametaphor]

Why Will Byers?

An analysis and theory on why Henry/Vecna targeted Will first in season 1 and his plans for Will in season 5

‼️Contains The First Shadow (TFS) spoilers so please proceed with caution.‼️

This is going to be a little long but I’ve tried to give as much context as I can without actually being able to show snippets from the stage play. This is my interpretation of everything that went down as a member of the audience and not as someone who has read up any theories about TFS before. To understand why Henry took Will first in 1983, we have to start with -

Henry and Joyce

From all the times I’ve watched TFS, the one thing that has stuck with me is the final conversation Henry has with Joyce. It’s just before his last confrontation with Patty Newby and before he joins Brenner for good. Joyce is the last person (who doesn’t know about Henry’s powers) that he canonically talks to.

Throughout the entire play Joyce, Hopper, and Bob are investigating the animals dying at the hands of Henry and come to the conclusion that Victor Creel has been the one doing the killing. They get so close to solving the case. In her last conversation with Henry, Joyce tries to comfort him by saying that Victor will pay for his crimes - which makes Henry laugh because she’s so close yet so far from the truth. He gets a little frustrated and says something along the lines of “You don’t get it. But someday you will.” (edit 28/9: the exact dialogue is [Henry: you’re too nice. that is how they’ll get you. you have to learn to do anything you can to protect the ones you love] [Joyce: I don’t understand.] [Henry: You will.]) The next time we see Henry make a reappearance in Joyce’s life is during -

The Vanishing of Will Byers

Will is taken into the Upside Down (UD) by Henry. It’s not even a question anymore. All of the context clues from 1x1 lead us to believe that Will’s kidnapping was not by a demogorgon. Will - a 12 year old - miraculously survives a week in the upside down with no food or water. Will is even around the demogorgon a few times in the Upside Down. (Joyce communicating with Will through the lights and then the demogorgon coming after her immediately).

Barb dies the night she is taken but Will stays alive and also somehow manages to talk to Joyce through the wall. Joyce is led exactly to where Will was held at the end of s1 and he makes it out alive. It’s almost as if Henry knew all along that Joyce was the most capable of never giving up on finding her son. Like Henry took Will Byers because he was Joyce’s son. And like he was giving her just enough to know that Will was alive. Even when Joyce and Hopper find him at the end in a state of near death, he’s not injured by a creature. He was being prepared for the next stage of Vecna’s plan -

The Possession of Will Byers

The origins of Henry’s powers happen as such - As a kid, he is transported into the UD (originally coined Dimension X by the government) for a few hours because he touched something he wasn’t meant to touch. During his time in there, he came in contact with the Mind Flayer (MF). According to TFS this is the point in his life when he started getting “corrupted”. Brenner’s dad - who was one of the first people to enter dimension X - had mutated blood after but no powers. Henry was the first person to come in contact with the MF and it’s highly likely he got his powers because of this (This would also track considering how most of the party has been in the UD now but show no signs of having powers). The MF controls Henry for the rest of TFS and Henry grows more power hungry the more he kills.

In S2, Henry presumably sends the MF after Will - who has now had a year to heal from the events of 1983. Will is the only other person in all of ST to have had direct contact with the MF and survived it. Henry didn’t hesitate to kill Billy in S3, but he always gives everyone just enough to keep Will safe. Will himself tells Owens in S2 that the MF wants to kill everyone except him. Will once again survives the entire ordeal and is given a “break” for the next 2 seasons. Except I don’t believe he’s been just given a break. I think Will is -

Henry’s Sleeper Agent.

Ready to awaken in s5. I undoubtedly think that Will is going to have powers. And I don’t think they’re going to be the same as Henry and El. El and the other lab kids get their powers directly from Henry. Will’s powers will be directly from the MF like Henry. I believe this has been Henry’s plan all along and it’s further affirmed by what he tells Will in the recent VR game. That Will will be the key to Henry being able to infiltrate his friends’ minds. Jamie Campbell-Bower also mentioned during the S4 press that to get in character, he set up a display with all of Henry’s victims and targets’ faces on his wall(?), and Will was in the center.

Henry is going to use his connection with Will sneakily and midway through S5 he’s going to awaken Will’s powers (maybe in ep4 - which is said to be titled ‘Sorcerer’ and has young Will in it). Henry is going to try and manipulate his way into making an ally out of Will, and it’s not going to work because -

Will is the Perfect Character Foil.

Will is everything Henry could have been if he had a better support system. He is the perfect character foil. Unlike Henry, Will has a mother who loves him unconditionally and more importantly, believes him. Unlike Henry, the person who Will loves the most (the Patty to Will’s Henry: Mike) is going to love him back and stay by his side all season. No one is going to force them to be apart the way Henry was told to stay away from Patty. Will is not going to be easily swayed even though Henry has spent years crafting him into the perfect soldier. Sure, Henry has seen him heartbroken and sad, but that comes nowhere near to the amount of love and support Will is going to get from his people next season. And they’re going to quite literally defeat Vecna with the power of love and friendship. After that, Will Byers is getting the happy ending that Henry could have gotten.

[palaceoftheprophets]

I am feeling fine and perfectly normal about them. :)))))))

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[chronurgy]

Gortash designs and builds mechanisms so I imagine he has to be able to sketch fairly decently in order to sketch his projects and designs. And I'm imagining a pile of charcoal sketches of Durge, done over their entire acquaintance, starting out with sketches of them in battle and then slowly becoming more detailed and intimate and as they do, the titles changing from things like "The Bhaalspawn" and "Bhaal's Chosen at Their Bloody Work" to "The Chosen in Contemplation" and finally just Durge's name

[tiredandoptimistic]

Genuinely one of my favorite details in MASH is how every character manages to display their unique identity through clothes, despite the uniform. They've all got a couple personal garments of civilian clothing mixed in with their preferred ways of modifying their fatigues, and that's so cool.

Hawkeye wears his undershirt untucked and his overshirt unbuttoned, plus he removed his epaulettes (Trapper is more or less the same). Radar has his overshirt unbuttoned but still tucks in his undershirt, and he wears that iconic hat that's definitely not standard regulation. Henry has his fishing gear or college sweater, and only pulls out the proper uniform shirt and hat if big brass are coming to camp. Frank and Charles both button and tuck in their shirts, but Frank usually wears his hat while Charles does not. Potter buttons his shirt, but never tucks it in. Margaret starts out dressing pretty uniform standard, but by the later seasons she usually replaces her shirt with a sweater or sweatshirt of some kind. Klinger, of course, has a variety of iconic fits.

BJ is definitely the most dramatic example, and it feels very intentional that by the later seasons the only part of his uniform he wears are the pants. He's got his iconic pink henley, plus an army shirt he made into a vest or a pair of red suspenders. He never even wears combat boots, it's converse all the way for him! To top it all off, he's got overlong hair and a goofy mustache; that man is showing disrespect for army regulations in every aspect of his physical appearance. It's very similar to Klinger, in my opinion; except BJ skipped right past the veneer of trying to prove he's crazy to "this is what I want to wear and I won't let this fuckass institution police how I'll present myself"

There's just so much character in how all of them choose to express themselves, despite living in a situation intent on stripping them of their individual humanity! I could do individual character analysis for all of their outfits, even though they're supposedly wearing the same thing.

[pollen]

happy sunday morning specifically to the person reading this post ☀️ i’m so glad you’re here with me! i hope your day is gentle to you 💛

[crime-wives]

sometimes i think about the fact that regina has literally held emma’s heart in her hands. the intimacy of soft fingers slipping under layers of skin and bone and blood and pulling out the muscle that keeps emma alive. cradled in the palm of her hand, glowing, still beating. regina having to be so gentle so as to not hurt her. and emma allowing regina to have that power over her. and then i think about the fact that regina’s fingers were bare and not gloved. the way she could feel every vein, every groove. the way she was not limited in her ability to see all of emma. something about the way regina handed the heart back to emma. placed it into the palm of her hand like an offering. look, i kept it safe for you, i love you, do you trust me?

[sassypantsjaxon]

Listen. I know most of the earlier one piece movies aren't really canon, but I am obsessed with the implications of Saga in the Cursed Holy Sword, because he really adds a layer to Zoro's relationships with his rivals.

Okay. First, there's Kuina. His first rival. The one he can never beat. The promise to become the greatest. Untouchable, indestructible, until she isn't. Wado Ichimonji.

Then there's Saga. His next rival. They're more equally balanced. They're both orphans. There's an understanding there. A more even footing that he didn't have with Kuina. A gifted short sword instead of an inherited katana.

And Sanji. The proof of Zoro's rule of three. Twice over, in fact, third rival, third son. Never gives Zoro an inch in a fight, but doesn't hesitate to give him food afterwards. He doesn't fight with a sword, so there's no blade shared between them. Instead there's a much heavier promise.

Kuina dies. Saga dies. Both so close to Zoro, and he couldn't even do anything. Of course Zoro's worried when Sanji boards the sea train by himself. Of course he pushes Sanji out of the way at Thriller Bark. Of course he's angry with Sanji when he runs off to Whole Cake.

Zoro's already mourned his first two best friends rivals. Does he really have to go through that again?

Maybe Kuina wouldn't have fallen if Zoro had never asked her to fight him. Maybe if Zoro had been a little better he could have saved Saga. Maybe Zoro will have to kill Sanji himself.

[kacievvbbbb]

You do get the sense that the fallout of Roger's death and the Roger pirates disbanding not so much traumatized Buggy and Shanks indifferent ways but instead generated such drastically different reactions to the trauma.

While the trauma of everything seemed to push Shanks into the future, always constantly waiting for something, putting plans on hold and then later in place, for this great moment, this great coming that he sees on the Horizon. For Buggy it rooted him firmly in the past keeping him trapped in this grief masquerading as anger.

While Roger's death forced Shanks to grow up fast, it kind of arrested Buggy's development keeping him stuck in those same feelings, rooted int that same place.

You get the sense that Buggy's whole east blue schtick is just one long overdue rebellious phase one big fuck you to Roger and his ideals. He's rebelling against Roger's principles. One of their rules was don't steal from innocent people and Buggy was keeping a whole town in poverty. If Roger and Luffy's pirating styles are diametrically opposed to someone like Blackbeard, who might be the most literal pirate in the entire series, then buggy is the parody of that Blackbeard piratism. He is playing up cruelty, being the most piratey pirate possible, hell he's literally a clown on a stage. It's all a show! It's his own special way of trying to "get back at Roger" of trying to discard everything Roger taught him for this overacted, over exaggerated clownish cruelty. Mentally he never left that execution square. He is still 15, alone and scared.

Hell he literally never left either, while I'm pretty sure Shanks' booked it out of the east blue as fast as he could, Buggy never lef, might have never left, if not for Luffy. It's part of why Luffy bothers him so much, he's just like Roger everything that Buggy is trying hard to forget and here comes this kid, whose never even met the Captain but is wearing his hat, shoving it right back in his face.

It makes sense that he never leaves the east blue till Luffy literally forces him out of it (fucking with Luffy gets him captured and imprisoned) and it makes sense that it's Luffy that literally breaks him out of prison, literally sets him free, and on the path to greatness that maybe he was always meant to achieve (even if he trips his way into it). This boy that is tragically so much like his old captain but so beautifully unabashedly himself, is what Buggy needs to start letting go off the past, to start trying to move forward.

Maybe that's why Buggy, at what could arguably be described as his lowest moment, gets the strength to free himself from his own self imprisonment, realizing that even back then he was locking himself away and pinning his own dreams on Shanks. And, maybe for the first time ever, Buggy really own his dream. He declares to his tormentors and his crew and the entire world that; actually He wants to find the one piece, him, as captain of his own crew, this crew, not just a part of someone else's. That's his dream and he's willing to turn the world upside down to do it.

[fumifooms]

Chilchuck analysis speedrun: As a hardworking half-foot who grew up poor and discriminated against and had his gullibility taken advantage of multiple times in his early adventuring days, Chilchuck thinks optimism is a dangerous flaw. He’s stressed and strict all the time because his job is noticing details like traps that could get everyone killed before anyone knows it, he takes the lives of everyone to be on his shoulders, and with the way he speaks about it that probably partly reflects how he felt about taking it upon himself to provide for his family too. His life’s always been pretty centered around work and has become even moreso now that his wife left and everyone is independent, and due to past events he’s very iffy with bonding with coworkers. He thinks feelings and job are a disaster mix. Like with his wife or with parties hiring him as sacrifice, being open or having good faith is vulnerability which can get you hurt, so he processes and shows all his stress as anger instead of worry. Doing strict dieting probably isn’t helping the irritability what with hunger, and on top of being a hunger suppressant alcohol might be the main stress reliever he has.

His grey hairs are so earned

[air--so--sweet]

I found out from the production designer's website and an interview he did that the basement kitchen is actually the 'kid's lounge', a space the siblings created for themselves.

And I've been obsessed with it ever since because I feel it gives us more of an idea about what the umbrellas childhoods were like.

Because, okay there's the slightly extravagant things like the pool table and foozball table, but most of it is very simple. A hifi system and a collection of cassettes and CDs (I bet Luther was only allowed have a record collection as part of his special treatment as Number One), what looks like board games and some toys in what used to be the butcher shops fridges and there's another toy next to the hifi system that looks similar to some of the ones we see in Five's room.

And in the scene where Allison and Diego fight Cha Cha we see art supplies as well.

These are just basic things most kids would grow up with but the umbrellas had to create a secret place, away from their father, to have them. It's just desperately sad.

But I also find it kind of beautiful that they worked together to make a place for themselves and I like to imagine the process of it coming together. Them scavenging furniture from the unused academy rooms. One of them finds the table in storage room, or the attic maybe, and then over the next few weeks they manage to take chairs from different rooms until they can all sit at the table together. Coming home from Griddy's one night (sneaking out became a lot easier once they had a separate entrance that their dad didn't know about) they spot an armchair and a sofa left out on the sidewalk and they don't look in too bad a condition so Five jumps back with the armchair while the others carry the sofa home (Five was still getting the hang of jumping with objects, the sofa was still a bit too big for him to manage). Grace catches them stealing food to take downstairs one day and she mentions it to Pogo (who knows about the room since it's right next to his own room, but he chooses to turn a blind eye) and suddenly there's a fridge in the room and Grace makes sure it and the cupboards are always fully stocked, even after the kids are gone (we see Five make a sandwich here when he comes back from the apocalypse). Hargreeves never interacts with Grace much and doesn't pay much attention to the food orders she makes as long as she stays in budget so some extra loaves of bread or jars of peanut butter won't catch his attention.

And Hargreeves never found out about the room because There's no reason for him to go to the basement, the only things in the basement are Pogo's room (so telling that there are 42 bedrooms in the academy but Pogo is relegated to the basement) and a utilitiy room. Viktor's cell is also in the basement but it's accessed by a separate elevator so Hargreeves wouldn't pass the kid's lounge to get to it.

You can tell how important the space was to the siblings as well because of how they use it in adulthood.

It's where they all go when Five returns and where they hangout when in the academy (we see them in the living room too but mostly for family meetings).

When Viktor comes to invite the others to his concert he comes through the butcher shop entrance.

It's where Klaus gathers his brothers when he tells them that he spoke to Reginald the night before.

And, even when he was the only one left living in the academy, Luther ate breakfast there.

It's the only part of the academy they feel is truly theirs and theirs alone. It's their safe place.