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.
A/N: This might be complete crap, but I desperately needed to write some Quill. I hammered this out earlier this morning and just did a quick edit, no rewriting. But hopefully it’s post worthy! I think a second part is in order? xD
The sound of bickering voices drifted back from the cockpit, making me roll my eyes. I lowered the manuscript I was flipping through.
“Will you two morons cut it out already?” I hollered. I waited a beat, but the arguing went on. Probably hadn’t even heard me. Anyways, it wasn’t my job to break up the idiotic pissing contest that went on between Rocket and anyone he met. Or at the moment, Drax.
Part one of my series of pop culture dragons reimagined as bastard worms as they would be like in A King of Worms.
Saphira is one of the last dragons spawned from an extensive program in the United States to raise and breed dragons that are not only social, but bonded to humans. The people of the so called “dragon villages” weeped for the loss of a nearly century old practice and veiwed the ceasing of the practice as an affront of dragon/human relations. Everyone else however, did not see these relationships as equal in any way, and questioned the ethics of trying to “domesticate” a race of sapient chaos serpents.
Saphira is heavily bonded with her human Eric Gong, a teenager in the boonies who loves reading and general nerd shit. She could not imagine any other way of life, to the point that she is completely unaware that “wild” dragons are even a thing, believing that she is a dying species
Smaug was said to be the last great dragon of New Zealand. A lazy fuck, Smaug’s lair has been situated in the former New Zealand treasuries for decades, and does nothing but eat mutton and sleep, covering the nation’s former wealth and gold all over his his moist sweaty stomach. People no longer dare to enter his lair, for they are will be faced by Smaugs constant bragging and obnoxious personality.
Having no competition on the island and no frame of reference of other dragons, he is unaware of the fact that he is incredibly unimpressive and small by dragon standards, so easily could he have his ass kicked i he lived anywhere else. To Smaug’s knowledge he is the best damn thing on the planet.
Elliot was a lonely dragon from a bad cave, running away from his once home and eventually stumbling upon a magical human boy named Pete who helps him. The other worms do not believe Elliot’s tall tale, magical human boys are a fairy tale that dont exist, but Elliot insists Pete is real but turns invisible when others are around.