True Love, Tallahassee, Regina’s Price. Cues and keys and crescendos, intertwined, layered again and again, pinned to scenes with the creator’s approval. Operation Mongoose? A TL motif. Going Home? A TL motif. Sacrifices, magic, teamwork? A TL motif.
It’s in the wardrobe.
Red and grey and black and back again. Plaid–confusion, discontent. Deep blue–loneliness, searching for family. Shared clothing, further intertwined. Parallels and callbacks to past couples, inciting conscious and subconscious connections. Why do they share this look instead of them or them?
It’s in the scenery.
Gallant knights with golden hair all in white abreast upright steeds. Splashes of color reflecting mood. Mirrors reflecting each other. Seals and symbols–the Tallahassee and Storybrooke, the dreamcatchers™, mirrors. All mirrors. Unicorn mobiles linked to unicorn hearts. A black unicorn, an unused mobile–innocence lost, never gained? White horses, black swans.
It’s in the camera direction. It’s in the editing.
Iconic shots, tricky angles, cued reactions–focus on her, not on him–which mean something. Rom-com zooms, reflections capturing both, pans guiding our attention to the thoughts behind the dialogue. Everything means something.
And the text. Hell yes, it’s in the text.
The magic to transcend realms. Unstoppable. Unbeatable. Wholehearted understanding, from one to the other. Mirrored storylines and struggles. Intertwined fates–both share a True Love already, after all. Longing glances, jealous quips, situations that require the one to save the other, then the other to save the one. Ultimate sacrifice. All canon. “I saved you, now save me.” “With you, I always know.” “I know you.” They’re stronger together than apart, time and time again.
Yes, it’s in subtext. It’s in innuendo and acting choices, it’s in interpretation and suggestion.
But when it’s built into the very foundation of the show–the Savior meets the Evil Queen–it’s not delusional. It’s not unintentional.
Either the wardrobe department, the music department, the prop department, the actors, and the editors are all going rogue…or someone told them to put it in the music, the wardrobe, the scenery, the camera direction, the subtext, and the text.
There are so many Tumblr blogs devoted to explaining - at great length - why every development in home architecture in the past hundred years is the work of the Devil, I’ve resolved that if I ever become rich, I’m going to live in a huge, featureless concrete cube. They’ll still hate it, of course, but at least they’ll have a really difficult time hitting their minimum word count.
It’s kind of ironic that the Lone Wanderer’s title is - well - the Lone Wanderer, because there are things that suggest they struggle with loneliness.
By the end of the game, they end up without a family and evicted from their own vault, and years later Moira says this about them: ‘Just about everyone in the Capital Wasteland has a story about the Lone Wanderer, even though precious few ever really knew him.’
The other Fallout protagonists went on to create villages and homes and develop meaningful relationships, while the Lone Wanderer remains true to him namesake. And considering his abandonment issues and want to friends, that’s pretty sad.