They look at each other, their burdens lifted slightly, their pain not gone but mellowing. Words unsaid. - The Prom script | They both smile. Two old soldiers. - The Yoko Factor script | They are both pained and comforted by the powerful bond between them.- Forever script |
Ok, so I was looking through Mick’s last scene in 12.17 but I got distracted by the blocking… and Homeward Bound. I also still have to rewatch 12.18 again to finish that post, but @obsessionisaperfume talked about 9.06 and it intrigued me to have a look again since it does heavily remind me of the current arc with Cas. It’s also on Netflix so yay not dealing with ads. I had used this lens before but actually writing it down showed some interesting patterns. Have 3 scenes from 9.06 with Cas and Dean annotated with editing.
As before, bold text doesn’t necessarily mean important, it just means coverage. Not in coverage is a reaction shot. I’ll note inserts of other things but there really aren’t many. These scenes are all pretty focused.
Some notes about these scenes: There is a lot of OTS (over the shoulder). This shot is often used to show connection and closeness. Having a character in 2D space OTS minimizes the space between the characters in the shot. It also builds a connection and sense of space. Some of these shots could be considered a 2 shot, but they sort of osculate between 2 shot and OTS.
Both denote connection, the 2 shot says that what’s happening from both characters is important.(unless the focus is the environment or space. You can usually tell which is being used when in practice) In western film, if the shot is close, the subject is important, if the subject is far, the environment or space is important. People generally take a more individualistic approach in western cinema, so if someone is in the shot with another character, it probably means something. It could mean that whatever is happening affects both of them, or it could mean that they are the only couple in the crowd. It depends on the narrative.
In the vein of the question answered today, what are some real life examples/situations that someone can use or visualize to determine whether they use Ni or Ne?
When planning something, do you tend to plan in depth and find it difficult to deviate from that plan when life complicates things (Ni) or do you wing it, changing your mind easily when given new information, even redesigning your entire idea at the last minute (Ne)?
When pondering truth, do you revisit an issue from every internal angle, considering all options and gradually excluding information, ideas, and interpretations until you have a single belief, opinion, or truth (Ni), or do you hold one position for awhile, then change it when given additional information, sometimes changing your mind a dozen times or being uncertain that there is an clear truth on this particular issue (Ne)?
When describing your perceptions, do you find it difficult to put your inner symbols and visualizations into words, instead focusing on a single anticipated outcome (Ni), or can you easily articulate connections, parallels, symbolism, and various possible outcomes for others to read or understand (Ne)?
When thinking about the future, are you typically more comfortable having a single fixed idea of what you intend to accomplish and how, having faith in yourself that your inevitable desired outcome will come to pass, and that life will present you with opportunities to step forward (Ni), or do you tend to change your ideas, ambitions, dreams, and thoughts about the future based on your interests at the time, your feelings in the moment, what possibilities lie before you, or the new people, places, and things you encounter (Ne)?
When problem-solving, does the idea sometimes simply “present itself” to you through subconscious pondering (or “sleeping on it”) (Ni), or do you tend to “think-out-loud” through different ideas and possibilities, first trying and then discarding one after another, until you hit upon the idea that works best (Ne)?
When making predictions, are you fairly confident in reading between the lines and asserting someone’s true motives, intentions, what really happened, or where something is likely to go in the future (Ni), or more inclined to state an opinion while nervously considering that you may not have all the evidence, so your conclusion could be wrong, and being open to or frequently changing your opinion based on new ideas, possibilities, or evidence (Ne)?
When your friends get on your case, is it because they see your idea as too narrow, fixated, or unshakable once you’ve made up your mind on this inevitable outcome or prediction (Ni), or because they see you as inconsistent and flighty, since you can reverse your position 180% in the course of a few weeks of pondering and may even contradict yourself in a single paragraph (Ne)?
Finally, this one is a VITAL difference between Ni/Ne-doms:
When everything goes wrong at the last minute, and your original plan, idea, or visualized outcome becomes impossible, do you short-circuit and find yourself unable to adapt, while beating yourself up for not having “foreseen” a way to avoid this inevitable outcome, perhaps even clinging stubbornly to your predetermined course, hoping you can make it happen through sheer force of will (Ni), or do you easily toss aside your earlier idea and adapt, revise, innovate, and go with whatever possibilities are immediately apparent in the environment (Ne)?
The post I made initially musing about a potential connection between these two went down fairly well so I decided I might not be mad and to take a bit of a closer look at the two things:
“Legend has it that the Shadow Market was built on the bones of
the god of truth.” “Well, they got the bones part right.” In every wall, skulls and bones were artfully arranged—and every
wall, even the ceiling, had been formed from them. Even the floor at the foot
of the stairs was laid with bones of varying shapes and sizes. “These aren’t ordinary catacombs,” Rowan said, setting down his
torch. “This was a temple.” Indeed, altars, benches, and even a dark reflection pool lay in
the massive space. Still more sprawled away into shadow. “There’s writing on the bones,” Aedion said, striding down the
steps and onto the bone floor. Aelin grimaced. “Careful,” Rowan said as Aedion went to the nearest wall. Her
cousin lifted a hand in lazy dismissal. “It’s in every language—all in different handwriting,” Aedion marveled, holding
his torch aloft as he moved along the wall. “Listen to this one here: ‘I am a
liar. I am a thief. I took my sister’s husband and laughed while I did it.’” A
pause. He silently read another. “None of this writing … I don’t think these
were good people.” ….
like this god of truth,” Aedion called from his wall, “was more of a Sin-Eater
than anything. You should read some of the things people wrote—the horrible
things they did. I think this was a place for them to be buried, and to confess
on the bones of other sinners.” - Queen of Shadows - Chapter 50
I don’t know, personally, this reminds me a hell of a lot of how The Bone Carver in ACOMAF works. Consider:
Like the gates above, it was of ivory—bone. And in its surface
were etched countless images: flora and fauna, seas and clouds, stars and
moons, infants and skeletons, creatures fair and foul— It swung away. The
cell was pitch-black, hardly distinguishable from the hall— “I have carved the
doors for every prisoner in this place,” said a small voice within, “but my own
remains my favorite.”
….. Never lie—that
had been Rhys’s first command.
me a secret no one knows, Lord of Night, and I’ll tell you mine.”
Bone Carver pointed a small finger at me. “Promise that you’ll give me her
bones when she dies and I’ll think about it.” I stiffened, but the boy laughed.
“No—I don’t think even you would promise that, Rhysand.”
carver said nothing more. Waiting for another truth.
…… Silence. Expectant, waiting silence.
Rhys’s voice was
hoarse as he said, “Don’t offer him one more—” ….. The
carver picked up the bone Rhysand had brought him and weighed it in those
child’s hands. “I shall carve your death in here, Feyre.” - ACOMAF Chapter 18
I’m not saying these two are necessarily one in the same but there are enough similarities to at the very least suggest a symbolic parallel and connection. The god of truth is the figure who’s temple of bone is dedicated to. A temple that people come to to confess their awful truths upon the bones of other sinners.
The Bone Carver in ACOMAF offers truth for truth. He hears the confessions of those who come to him, he takes their truths and in exchange he offers up some of his own and before they go to see him Rhys strictly informs Feyre never to lie to him.
The Bone Carver in general just sort of fascinates me. I want to know why exactly he’s in the Prison in the first place and the idea of him collecting significant bones, bones that have claimed lives like the bone Rhys presents him with and bones into which he carves death. I also wonder why Rhys is so insistent and seemingly shaken at the idea of Feyre offering him any more truths than she already has and whether this has any correlation to the ‘Sin-eater’ idea and whether he literally feeds on these truths.
Why do you think the next episode will be a Beauty & The Beast parallel and how does it connect to Destiel? I have to admit I've never seen the movie. D:
How long have you got?
Well I saw this post which seemed to give a clear BatB parallel. And I saw the new BatB (I went twice because I’m a saddo who can’t get enough Destiel trope parallels and my husband and mom both wanted to go, so hey!).
So… well. I wrote about it originally here but i have more :) I mean, some of the words are even EXACTLY THE SAME. Because its a classic love story.
- Supernatural being who falls in love with someone whopersonifiesHumanity.
- Supernatural being who really is human all along deep down. ‘Falls’ for humanity through love and becomes human in the end because of it.
- New BatB: Person is twisted by their father to be something that they are not, other person brings the real them out into the open. Hatred of themselves and their father, idealisation of their mother…
- New BatB: Person (Belle’s) mother dies, it changes their whole lives, father tries to protect them at all costs, though its not always the ‘right’ choice, ultimately leads them towards the other through accidental means.
- Belle is ostracised for being different but actually she’s special and Beast recognises this as well as her embodiment of humanity and falls in love with her.
- Person who personifies humanity wants more from their simple life, doesn’t want to love the Supernatural being but is led to despite themselves due to their overwhelming ‘humanity’ coupled with ‘other worldliness’ and ‘excitement’.
- Toxic masculinity (Gaston) is shown as the general people’s end goal, then revealed to be NOT the goal for the main character. Clue: toxic masculinity dies.
- The classic love trope and the way it’s filmed so similarly to SPN - who could possibly love a Beast? Cut to Belle. Who could possibly save Dean? Cut to Cas. Amara tells Dean he represents humanity? Cut to Metatron who literally said Cas was in love with Humanity… etc etc etc.
- Beast asking Belle if she’s happy and could ever love him - Belle responding basically yes BUT “how can you be happy if you aren’t free?” - Cas and Dean‘s whole narrative about them being the embodiment of FREE WILL.
- Belle and Beast sitting on the bench as she teases him about reading a romantic story // Dean ‘no chick flick moments’ Winchester.
- New BatB: After an emotional, tense moment. Belle to Beast: “Let’s go home”. Beast realises she means with HIM. THE LOOK. 12x12 AAAAAH!
- The WHOLE storyline of Belle and Beast paralleled: they meet antagonistically, get to know each other, fall in love, have to be separated for FAMILY, Belle thinks Beast will be OK but he isn’t because PINING and PERCEIVED REJECTION. Toxic Masculinity / Others come to persecute Beast and Belle has to save him and the whole castle while Beast is struggling because he’s becoming human due to ‘humanity’/Belle but thinks he is rejected etc etc etc. Basically the whole storyline of Destiel since season 4 til now in a movie, now up to the point that the villagers are lighting their pitchforks.
-OK generally its Belle / Dean and Beast / Cas but there are a few change arounds, just cos its obviously not a total copy, but they use the same tropes is all. And the way Belle embodies the SUN in the new BatB especially. Just YES.
I mean. Im sure theres more I just can’t remember it all.
The new film is even more Destiel than the old one with all the additional scenes totally paralleled to them. Im sure the writer is a Destiel shipper. LBR.
I have had a lot to drink. And i remember all this.
I know I’ve said this before but I bet ur ass any money when Oswald finds Ed he’s not gonna be able to kill him
He’s gonna feel so conflicted because on the one hand in his mind he deserves to die for trying to kill him yet on the other hand he’s still in love with him.