#Conflict Analysis and Resolution

[mikegremgonline]

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[meraki-yao]

RWRB Movie Analysis: The Kensington Confrontation, on life, love and patience

Some things happened in my personal life and I had an epiphany on certain stuff, and subsequently, I started to see this scene in a different, clearer light.

“My life is the crown, and yours is politics, and I will not trade one prison for another.”

From Henry’s point of view, there is no changing, no escaping the life he’s in. He has his family, and the country’s adoration (considering he’s called the prince of England’s hearts, he might be the most popular royal in universe), and that’s all he knows, that’s all his has. He can’t straight up come out, the country will reject him, the king will berate him, he’ll be left with everything he had and knows taken away from him, he’ll be left with nothing, and he knows love can’t solve everything. If he comes out, gets more or less banished by his country and stay with Alex, with Alex’s ambitions of becoming a politician who has to be frequently judged and scrutinized by the public, as his partner he will be subjected to that too, which he doesn’t want, especially in such a case that he’s not even trained for.

To him, at that moment, there is literally, no possibility of him being true and happy. There is no way out.

“We can figure out a way to love each other on our own terms, no one else’s.”

Alex doesn’t see this as a binary choice. Henry doesn’t have to come out now. They can wait, and love each other while waiting. They can find a balance. Henry can push for smaller changes, like choosing to do charity projects on LGBT+ communities to test the water on how the public might react to a royal getting involved in the community as well as make the crown’s image more LGBT friendly so if he comes out later, there’s at least a portion of the public that will be supportive. (I am completely confused about how the royal family in RWRB works, but for the irl primary royal family members, besides some mandatory monarchy stuff, they can choose which topics to focus on, like Kate Middleton with early childhood development and Prince William with environmental conservation) Alex can find his footing in the political scene in the US and gain his own relatively stable standing before coming out, and with already established political work that hopefully will gain him a supporter base, later revealing his relationship won’t be as big as a hit.

Either way, in Alex’s perspective, and honestly, in reality, they don’t need to make a decision between two definitive choices. If the pre-set road doesn’t work, they’ll carve their own way out.

It’s just, that will be hard, and scary because that means breaking out of the space Henry’s in now. That space doesn’t suit him, and he’s fairly miserable stuck in that space, but it’s also all he knows. In that space, he knows what to do, he can predict outcomes, because that’s all he’s ever known.

Breaking out, carving a new path, means doing something no one’s done before. He’ll be alone in navigating the new life, he can’t predict outcomes, and there will be no one to guide him. (Alex will of course, still love and support him, but support and guidance are two very different things.) He might risk everything and only end in a big mistake.

“That is simply not possible, and you know it.”

That sentence isn’t true. But Henry is so fully-encompassed by the life he has now that he doesn’t dare to even think about a potential alternative.

“Fine. I’ll leave. And you can live in your tower and protect your heart for the rest of your life and nothing will ever happen to you.”

“But Henry.”

“Nothing will ever happen to you.”

I, without fail, always tear up at this line, and just sob through the rest of the scene.

Here’s the line in the book:

“Tell me you’re done with me. I’ll get back on the plane. That’s it. And you can live here in your tower and be miserable forever, write a whole book of sad fucking poems about it. Whatever. Just say it.”

Honestly, I kind of like the movie line better for two main reasons: 1, using the same line with distinctly, painfully different meanings is such clever dialogue writing, 2, just like the book line, it’s insinuating what Henry would be losing, but the first time Alex says it, it also insinuates what Henry thinks he’ll be saving, and the contrast between the two makes the lost more evident and painful.

The first “Nothing will ever happen to you” is about what Henry’s keeping by giving up his relationship and Alex. You can live in your tower like Rapunzel, stay in your cage like a trapped bird, you can maintain the status quo, the royal life you’ve been living for so long. You can protect your heart for the rest of your life because if you never allow yourself to fall in love, if you never give your heart away, no one will lose it, and no one will break it. Nothing will change from the life you’re living, for better or for worse. Nothing will change. Nothing bad, nothing dangerous, nothing new will ever happen to you.

The second “Nothing will ever happen to you”, is all the things Henry will be giving up by staying where he is, staying in the same space that the crown drew for him. Never changing, never breaking out, living day by day on orders and demands, never taking initiative. You don’t have the burdens and pressures of making choices, but you don’t get the freedom to make the choices you want either.

Most devastatingly, never getting to be honest about your sexuality, about your personality and thoughts. Never getting to date, laugh, kiss, have sex, fall in love with a man who truly loves and cherishes you, the man standing right behind you, who flew across an ocean and stormed a fucking castle to tell you he loves you.

All the unbridled joy you felt when you were with Alex, you will never get that again.

Yes, you might never get your heart broken again afterwards.

But you’ll also never get your heart to beat as wildly, as happily and as loudly as it did when you were with him, ever again.

Nothing will change.

Nothing new will ever happen to you.

But by refusing to change, nothing good will ever happen to you either, darling.

Nothing truly good, truly happy will ever happen to you either.

You will never, be truly happy again.

And hearing Alex’s ultimatum, makes Henry actually think.

Alex leaves, and he keeps this life. Never truly getting his heart broken after tonight, no soul-deep agony, but a constant heartache and discomfort he will carry for the rest of his life.

This exchange isn’t worth it.

There are a bunch of details that Henry hasn’t worked out, and is still scared to work out, but first and foremost, giving up the love of his life in exchange for a life that doesn’t suit him, it doesn’t feel like it’s worth it.

I originally thought the transition from the Kensington confrontation to going to the V&A was a bit too sharp and sudden, but I have another understanding of it now.

Henry needs to think. He also needs reassurance that if he chooses to do something, Alex will stay. He needs to be sure that Alex is it for him. That Alex is worth him taking risks, worth him upturning and changing his whole life.

Henry said it himself; he’s been dreaming about dancing with his love in V&A since he was young, this is what he imagined the peak of his own brand of romance would be. When he allows himself to dream of love, this is what he dreams of.

If he takes Alex to the V&A, and whatever happens there is everything he’s ever dreamt of, then this is it for him. Alex is it for him. He can’t let Alex go anymore.

And Alex, sweet, loving Alex, does fulfil his dreams of dancing with him, and it’s everything he’s ever dreamt of and more, and Henry has his primary answer.

I want him.

I want to keep being with him.

I love him.

He’s worth it.

They need to figure out what it means to keep being together and committed with the life they have. Henry is still scared about carving his own path in life for the first time. He needs time. He needs patience. He needs to be brave.

So he says:

“Please be patient with me, and I promise I will try and be brave for us.”

And of course, Alex, says yes.

“I love you.”

“I’ll be as patient as you need.”

[watermelonsloth]

I’ve seen a handful of people in the Naruto fandom complain about Naruto using force or threatening to use force on Sasuke in an attempt to bring him back to Konoha and I want to talk about it. Not to complain about the fandom again or to discuss my thoughts on the argument, don’t worry. I just want to point out that the story actually agrees with this sentiment.

(As a quick aside/reminder, most major fights double as the characters involved having a conversation/debate and all of Naruto and Sasuke’s are meant to be visual representatives of their beliefs/perspectives/goals clashing and shouldn’t be taken literally.)

Naruto first goes after Sasuke at the end of part 1 and attempts to drag him back to Konoha by force. He doesn’t understand Sasuke’s motives at all, he nearly dies, and, more importantly, he fails his mission. He tries to bring Sasuke back again at the start of shippuden, this time by convincing him, but he fails to listen to/understand Sasuke’s motives and subsequently fails to bring Sasuke back. (Side note: Naruto attempts to find Sasuke by chasing Itachi, but how he intends to bring Sasuke back is unclear so I can’t say much here.) Then the Pain arc happens where two important things happen: 1. Jiraiya, Kakashi, and many of the other people he knows and loves die and his home gets destroyed. 2. He learns to use his empathy/emotional intelligence consciously and put effort into understanding the motivations of his opponents. Basically, he has a personal point of comparison to Sasuke’s backstory/motivations and he starts putting effort into truly understanding Sasuke. The next, and last, time Naruto tries to bring Sasuke back to Konoha is at the end of Shippuden. The two of them fight, Naruto fully understands why Sasuke is doing what he’s doing even if he doesn’t agree with it, and only then does Naruto succeed in his mission when Sasuke returns to Konoha of his own free will.

The series doesn’t blatantly state it, but it very clearly paints Naruto’s attempts to force Sasuke back as the wrong decision that doesn’t work. His attempts are proof that he doesn’t understand Sasuke and still has a lot to learn. The series is about people coming together through understanding so it makes sense that Naruto and Sasuke’s relationship only gets mended after the two finally reach an understanding.

[presswoodterryryan]

Fluffernutter Investigates: The Great Gaza Mystery – A Tale of Leadership, Home, and History

By Mr. Fluffernutter One fine morning in the Great Meadow, where the air was crisp and the scent of clover danced in the breeze, Mr. Fluffernutter, the ever-curious bunny detective, was enjoying a delightful nibble on a fresh carrot when the Great Meadow Council called an emergency meeting. News had spread of a powerful leader’s bold declaration: a grand plan to take over a distant land,…

[deborah-sword]

Conflict Owner's Manual podcast: "what you see depends on where you stand"

It may be tempting to be aggressive in conflict. Perhaps with hopes that getting in an adversary’s face will achieve your preferred conflict outcome. In the Wednesday podcast, I suggest another approach, one that’s more likely to get the result you want. The appeal of this approach is that it’s simple, fast, effective, fun, and everyone learns a conflict competency from it. While a disagreement…

[zomb13s]

The Israel-Palestine Conflict: A Geopolitical Theater of Manipulation

1. Introduction The Israel-Palestine conflict, while often framed as a struggle between two distinct peoples, is increasingly recognized as a theater of manipulation where external powers exploit the situation for their own interests. Both Israel and Palestine have become pawns in a larger geopolitical game, with regional powers using the conflict to advance their agendas. This essay posits that…

[tsic-tata]

Explore innovative HR management solutions tailored for industrial excellence at Tata Steel Consulting. Discover how our expertise enhances workforce efficiency and organizational performance.

[quillsword]

Is Israel the Baddie?

Dive into the complexities of the Israel-Palestine conflict in our latest blog post. We challenge simplified narratives and explore the nuances of Israel's response to the October 7th attack. Join the conversation

[kleyamarki]

something something the lack of conflict resolution education for those entering public librarianship is a disservice to the communities they serve because you're constantly told to look at and understand your community but you're not given the tools to analyze the problems and why they happen

[mde-creative-video]

What is it really about when we argue?

[howdoesone]

How does one analyze the role of the hero or protagonist in a science fiction or fantasy work?

When it comes to science fiction and fantasy, the role of the hero or protagonist is often central to the story. These characters typically possess unique skills or abilities that allow them to overcome great obstacles, fight evil forces, and ultimately save the day. Analyzing the role of the hero or protagonist in a science fiction or fantasy work can provide insight into the deeper themes and…

[mikegremgonline]

Effective Dispute Resolution for Fair and Efficient Outcomes

Conflicts in business, workplace, or legal matters require a structured approach for resolution. With professional Dispute Resolution services, you can navigate disagreements effectively and reach mutually beneficial solutions. Whether dealing with contract disputes, partnership conflicts, or organizational issues, expert mediation helps avoid costly litigation and fosters collaboration. Using proven negotiation techniques and active listening, we ensure fair outcomes tailored to your unique situation. Resolve conflicts efficiently with expert dispute resolution strategies.

[fullscoreshenanigans]

#it was clear from the beginning this girl is INSANE #but this proves that she really will use any means necessary to accomplish her goal #as long as she’s the only one who has to suffer for it she doesn’t gaf #when you’re desperate not to turn into your mother and end up just like her anyway #how humbling it must have been to discover that she was actually the one who was weak #that Ray’s tendency to make fast decisions but give up just as easily comes from her #and her attempts to break Emma only fortified her resolve #and poor Emma. poor poor poor Emma. to still have so much love for the person who hurt her the most. #punching furniture and eating asphalt about it (via @emmaspolaroid)

I have the capacity to be normal about it. But I won’t.

[zvaigzdelasas]

Do you have an analysis on Sinwar being the new politburo chief? Very unexpected choice.

Have a couple thoughts:

Dissolving more of the barrier between Hamas as a political organization & as an insurgent organization

Spitting in Israel's face who was hoping that a decapitation strike would leave hamas with a leader lacking broader political legitimacy in the organization or create divisions/deepen divisions between civilian governance & militant organization

Lessens the leverage Qatar has over Hamas as they were providing Haniyeh with refuge

Since Sinwar is (presumably) in Gaza, his presence will likely be used to justify decreasingly discriminate attacks even moreso than it was before

Likely much more uncompromising (not to imply Haniyeh was) in negotiations

Israel and the US will have to directly negotiate with someone they despise

Dropsite News describes sinwar as such:

Despite the sinister portrayals, Sinwar’s writings and media interviews indicate he is a complex thinker with clearly defined political objectives who believes in armed struggle as a means to an end. He gives the impression of a well-educated political militant, not a cult leader on a mass suicide crusade. “It's not this black image of Sinwar as a man with two horns living in the tunnels,” said Hamad, the Hamas official who worked directly with Sinwar for three years. “But in the time of war, he's very strong. This man is very strong. If he wants to fight, he fights seriously.”

In 1988, just months after Hamas was founded, Sinwar was arrested by Israeli forces and sentenced to four life sentences on charges he had personally murdered alleged Palestinian collaborators. During his 22 years in an Israeli prison, he became fluent in Hebrew and studied the history of the Israeli state, its political culture, and its intelligence and military apparatus. He translated by hand the memoirs of several former heads of the Israeli intelligence agency Shin Bet. “When I entered [prison], it was 1988, the Cold War was still going on. And here [in Palestine], the Intifada. To spread the latest news, we printed fliers. I came out, and I found the internet,” Sinwar told an Italian journalist in 2018. “But to be honest, I never came out—I have only changed prisons. And despite it all, the old one was much better than this one. I had water, electricity. I had so many books. Gaza is much tougher.”[...]

Sinwar, unlike leaders of Al Qaeda or ISIS, has regularly invoked international law and UN resolutions, exhibiting a nuanced understanding of the history of negotiations with Israel mediated by the U.S. and other nations. “Let's be clear: having an armed resistance is our right, under international law. But we don't only have rockets. We have been using a variety of means of resistance,” he said in the 2018 interview. “We make the headlines only with blood. And not only here. No blood, no news. But the problem is not our resistance, it is their occupation. With no occupation, we wouldn't have rockets. We wouldn't have stones, Molotov cocktails, nothing. We would all have a normal life."

Throughout 2018 and 2019, Sinwar endorsed the large-scale nonviolent protests along the walls and fences of Gaza known as the Great March of Return. “We believe that if we have a way to potentially resolve the conflict without destruction, we’re O.K. with that,” Sinwar said at a rare news conference in 2018. “We would prefer to earn our rights by soft and peaceful means. But we understand that if we are not given those rights, we are entitled to earn them by resistance.”[...]

After the end of Israel’s 11-day bombing campaign against Gaza, Sinwar spoke to VICE News and sought to frame the Palestinian struggle in a U.S. context, using recent cases of lethal police violence against African Americans. “The same type of racism that killed George Floyd is being used by [Israel] against the Palestinians in Jerusalem, the Sheikh Jarrah neighborhood, and in the West Bank. And by the burning of our children. And against the Gaza Strip through siege, murder, and starvation.”

And additionally (echoing the words of Hagari)

Support among Palestinians for Hamas and its Gaza leader Yahya Sinwar, according to the recent poll, “remains very high” and has increased during the past three months. At the same time, while two-thirds of Palestinians polled in the occupied territories believe that Hamas will “win the war,” only 48 percent of those in Gaza agreed.

Hamas has insisted the war cannot destroy its movement and will remain part of the tapestry of Palestinian factions governing its besieged and occupied territories. “What matters is that you finally realize that Hamas is here. That it exists. That there is no future without Hamas, there is no possible deal whatsoever, because we are part and parcel of this society, even if we lose the next elections,” Sinwar warned in 2018. “But we are a piece of Palestine. More than that, we are a piece of the history of the entire Arab world, which includes Islamists as well as seculars, nationalists, leftists.”

Daniel Hagari has also echoed this last bit [TimesOfIsrael is Israeli Private Media]

“Hamas is an idea, Hamas is a party. It’s rooted in the hearts of the people — anyone who thinks we can eliminate Hamas is wrong,” he continued.

Rumors are that Netanyahu is trying to figure out necromancy in order to bring Haniyeh back

Also check out this interview conducted by Vice

[2-old-to-guard]

Nicolò, Nicky, di Genova

For the second analysis I shall be exploring the inner workings of Nicky. Now, Nicky is a VERY quiet character so a lot of my analysis shall be subtext delievered by the amazing Luca Marinelli who put 110% into this role.

First Impression:

The first time Nicky is mentioned is between Andy and Booker. He uses the couple as a tactic to get Andy to consider the mission. (You can see that when Booker looks at Andy immedietly after Nicky opens the door).

This is actually the first example of Nicky being the first line of defence. He opens the door while Joe hangs back. But both of the men relax when they see her. The hug Andy and Nicky is much more soft than the one between her and Joe which shows Nicky's more reserved character. It also heavily differs to the ways Andy and Booker touch each other, which is discused in Booker's post here. I also like how the couple are kind of matching shirts, I think it's cute.

Relationships:

I've spoke about Nicky and Booker in my Booker post so you can read that here. But from Nicky's perspective, I believe he's humoring Booker and clearly holds no actual anger when he loses. He's known Andy for longer than Booker and must know she'll guess the baklava. But he places the bet anyway as it seems to be a little tradition between the duo, giving them a unique relationship. Finally, it shows they have a rather flippant approach to money as they bet A LOT of money on this silly bet, which could also show how long this bet has been going on for.

Nicky's role in Andy's story is to be the constant postive approach to their immortality. He is clearly under the belief that their long life has to mean something and this is what fate has dictated they do with their undeath. At the beginning Andy is hostile to this and snaps at him multiple times. Simply through their differing personalities, they have the least connection but the small moments they have together show their love. He is also another gift giving person and gives her the baklava in a rather affectionate way. Unlike Booker, Nicky values gifts that serve a purpose (food).

I'm going to talk about Joe and Nicky in the Van scene as it deserves its own section.

Sniper:

Nicky is the sniper of the group which continues through the beginning sequence. Each of the members have their specific role.

I like the little moment where Copley waves at Nicky through his rifle. It's subtle but works to explain Nicky's later remark:

"We are usually a better judge of character."

As it gives Nicky and Copley a moment before the betrayal.

Sudan:

Nicky is the only immortal to talk to the group of people they pass on their mission.

This analysis is inspired by this post. It's subtle but it shows Nicky's kindness and how he goes out of his way to be kind to people. It's not just about rescuing people from kidnappers, it's about being kind to people.

Also, I think it's interesting that Nicky knows many languages and goes out of his way to speak to people in their native tounge.

Another subtle moment of showing the skills each of the Guard have. Not only does Nicky kill two guards with one bullet, he also catches the shell casing to ensure no evidence is left behind.

As the mission is revealed to be an ambush, Nicky's sole focus is on the hypothetical girls, even after they are killed. Nicky believes Copley is on their side and so cannot comprehend that he lied to them.

Whilst Joe is discussed as being "an incurable romantic", Nicky also has his moments. Specifically, in this scene Nicky dies looking at Joe so when Joe turns to see if Nicky is still alive, Nicky is already staring at him.

Later on, when Andy is fully in despair Nicky tries to comfort her with the same line as before. But this time, Andy snaps at him. This is the middle part of this conflict between them. The first is the status quo, the second is the conflict, the third is the resolution.

Contextually, Nicky's first conflict was the Crusades and that is considered one of the worst conflicts in history. Nicky most likely feels immense shame for it and that is what drives his need to do good. Saying they did what they did "For the right reasons" shows Nicky is acknowledging you can do it for the wrong reasons. He shows great sadness at Andy's cynicism in this scene but doesn't say anything, once again showing his reserved nature.

The Dreams:

As stated previously, the ways each of the characters interpret the dreams shows us something about their characters.

Nicky is the first person to state what he saw in his dream and he zeros in on who the new immortal and what she looks like. Next, he talks about the surroundings "dirt walls, clay walls". Thirdly he brings up the weapon that is used. "The pesh-kabz is an Indo-Persian knife used extensively in northern India and Afghanistan". In three lines, Nicky has figured out the physical appearance of the new immortal, the setting in which she died, and the geographical location of the new immortal. This scene highlights Nicky's practical nature, similar to the way he used his rifle to kill two men at once to ensure the alarm wouldn't be raised.

From Nile p.o.v all she sees of Joe and Nicky is them embracing. Joe and Nicky's first priority is love, whether for each other or the rest of their family.

This is immedietly followed by Nicky's monologue about one's first death. This scene, like "peace be with you", shows Nicky's empathy for other people. He immedietly decides to save her not for a practical reason (like Andy), but for emotional reason.

"Whoever she is, she’s confused, and she’s scared, and she’s more alone than she has ever been in her entire life."

This also seems to be him emploring Andy's softer side, which works and shows how close Andy and Nicky are and how well he knows her.

Finally, Booker claiming that Nicky always had Joe is incorrect as he woke from death alone and was isolated for many years before they put their differences aside (apologies for the Booker slander but my boi deserved that).

The Dinner Scene:

In many of the deleated scenes, Nicky has a strong passion for food. This was cut but this moment where he smiles seeing Nile eat his food is really cute and shows his caring nature.

I also like the subtle difference where Nicky finishes Joe's sentence after Nile appears confused:

"So you good guys or bad guys?"

"Depends on the century."

"We fight for what we think is right."

I don't know why no one talks about this but Nicky is the first one in the relationship to tell Nile about it.

This line doesn't hit as hard at the van confession but it's so simple in the way it states that Joe and Nicky are together. It's so sweet how Nicky doesn't even hesitate in explicitly stating his love for Joe.

There is also a little regret in the way he says "many times" which adds to Nicky's regret over the crusades.

The scene, for Nicky, ends when he notices how conflicted Nile is and offers her a place to rest. Another example of Nicky's kindess.

Quynh:

Nicky and Joe's sleeping pattern has been highly analysed by the fanbase so I won't talk about it in a lot of detail. While Joe is shielding Nicky with his body on the train, Nicky is protecting Joe with his body in Gousanville safe house. Nicky, as the sniper, is the most observant of the group and is awake and alert first out of all of them. He also has a gun in his hand by the time Joe and Booker are awake.

I think it's very important for Nicky and Joe be the ones to talk about Quynh. For Nicky's side, he must feel immense guilt for the imprisonment of Quynh as it was his fellow christians who dropped her into the bottom of the ocean. The guilt he feels is shown through the camera angle. Andy views Nicky talking about the witch trials through a church window. Whilst it's commendable that the movie keeps Nicky a christian even after his long life and his relationship with Joe, it adds to his complexity as he fully recognises the crimes of his fellow christians but remains faithful, probally because the same God that make him immortal gave him the life he has with Joe. He also fights through his pain to explain to the scared Nile what she saw. His kindness doesn't blind him, however, and he allows Andy to be the one to talk to Nile after she storms off.

The Van Scene:

Whilst Joe and Nicky are joined together for the most part, to the point where they are mostly referred to as Joe and Nicky, they are their own seperate people. Joe is more outspoken and emotional whilst Nicky is reserved. This is most clearly displayed with the different ways each of the characters react to the homophobic comment from the guards.

While Joe begins to preach to the men, Nicky says very little. He shows exhaustion at the comment rather than just anger, showing how this kind of bigotry is nothing new to him and someting he is tired of. As Joe's speach continues, Nicky goes from tired, to touched. As Luca said it an interview, all he had to do was get lost in Marwan's eyes.

But Nicky isn't completley emotionless. By the end of Joe's speach, Nicky is overcome with love that he leans forwards and kisses Joe. The focus on him in this scene makes it seem like Nicky moved first and Joe followed. Another moment of Nicky being the first to show affection to Joe.

All of this culminates in them kicking the guards ass as all good power couples should.

Whilst the idea of them only doing this because they're homophobic is funny, in the comics it's clear that they did this to try and escape. Still, this one of the first time Nicky is snarky. I believe this is Nicky putting on a persona to try and intimidate the mercanaries and make them unsteady in another attempt to escape.

This is also the first example of Nicky absolutley gagging someone. Having him turn to Copley and say "We are usually a better judge of character". Copley holds an immense respect for the immortals so having one of them dunk on him works well to support his change of allegience later on.

The Merrick Confrontation:

Again, another scene that foucses on Joe's outspokeness. But Nicky is again subtly displaying more of his character.

After Joe headbutts Merrick, Nicky subtly tries to reach for Joe. He probally realises this will result in something bad and so tries to protect Joe.

When Joe is stabbed, Nicky, for the second time, loses his composure and tries to reach for Joe. From the a story writing perspective, obviously this will not kill Joe, but having Nicky be so reserved for the majority of the film his out-of-character panic adds to the tension of the scene.

As Merrick monolouges neither of the couple are really listening. Nicky is solely focused on Joe and making sure he's ok. You can see Luca subtly look to Joe's neck before moving in for the blessed headbump. The fact that Marwan and Luca improvised that, probally inspired by the deleted scene where they do the same thing, hurts my soul. Anyway, it is only when he knows Joe is ok, Nicky then focuses on Merrick. This could also show to symbolise that Merrick isn't the threat Nicky is worried about. That fear is reserved only for death.

The Lab Scene:

Despite being in extreme pain, Nicky doesn't scream and tries to keep in any noises. This could serve two purposes,

The first is that he doesn't want to give Kozak the satisfaction of seeing him in pain. Including lines such as "do you feel the wound trying to close?" shows she clearly holds more sadistic interest in these experiements.

The second purpose is that he doesn't want to worry Joe. From the following dialouge, "As much as I like watching you sleep, I’m glad you’re awake" he was working under the assumption that Joe was asleep and if he was asleep, Nicky screaming would wake him.

This is the second example of Nicky gagging his captors. But this one seems to go over Kozak's head, which makes me laugh. The script has to balance the weight of each of the characters' lives with making them seem relatable and like real people. This is an example of Nicky's imortality dictating his response. Even though Kozak is actively torturing him, he holds little resentment towards her and admits he understands her actions. From a personal perspective, his involvment in the crusades, and from a historical perspective, all the ways humanity has experimented on others claiming to be trying to save the world.

When Joe wakes up, Nicky tries to soothe his panic by saying, "As much as I like watching you sleep, I’m glad you’re awake". The couple are clearly trying to pretend that what is happening to them isn't happning. I think Nicky is the one who is more accepting of what they are going through.

The subtle smile Luca does when he says 'Malta' shows him letting nostalgia consume him insted of fear. But when he says "we should go back", he's letting the reality of the situation settle in again. But he still holds hope that they will escape, showing the trust he has in Andy.

The Lab Scene Continued:

The despair on Nicky's face can be seen from the beginning of this scene. He seems genuinley shocked that Andy has been captured, once again showing how much he's trusts her. The difference between Joe and Nicky is shown again when they react to Andy's mortality. Nicky slowly lowers his head whilst Joe's is more explicit.

Furthermore, when Nicky says "All things", he isn't looking at Merrick. He's seemingly looking at the sky, possibley towards God. He's not angry but instead seems to be sad and accepting.

The final example of Nicky gagging his captor. The line "as is yours" works in two ways. The first is to remind Merrick that for all his money, and influence, and connections, he is still mortal and he will eventually die long before Nicky ever does. Secondly, it works as a threat. Merrick is reminded that the extremely skilled killers he has tied up in his basement could in fact escape and they'll come straight for him. Nicky's reserved attitude could make him seem a passive character but lines like that show the anger that bubbles beneath the surface.

The Final Battle:

This is really short but despite not knowing Nile for a day, Nicky still warns her about the incoming attack.

For all his talk of 'we die when we die' Nicky is still worried about risking Andy's life. It's the only time his faith is really disputed and this time, Andy reassures Nicky's faith which is a fun development between them.

This fear for Andy is further shown in the fight scene. Nicky is consistantly looking for Andy and making sure she's ok. This fear leads to his own injury.

Joe and Nicky's relationship is further shown in the absolute confidence Nicky holds for Joe. He doesn't even look behind him during a fight as he knows Joe will be right behind him. I actually love this too.

Also, this shot of Nicky glaring at Booker shows that even though he doesn't want to punish Booker AS severely as Joe, he still holds an immense amount of anger towards Booker. This difference between Joe and Nicky might be due to their differing realationships with Booker. Nicky and Booker were less affectionate, and possibly more distant so his betrayel doesn't hurt Nicky as much... but it does.

The Keane Scene:

This is the final moment where Nicky's calm demenor is uprooted by an intense emotional moment. At first, when it is just him in danger, he uses skilled fighting techniques to fight Keane. But when Joe is the one in danger, he just lunges for Keane just to try and save Joe. This scene is highly controversial as many people see it as unnecessarily violent and too close to real life crimes against gay people. From my perspective, it is meant to symbolise the way gay people have persevered despite their many struggles. It's why Nicky doesn't die in this scene and it ends with the couple embracing.

Also, despite having just DIED, Nicky first concern is Andy which is the pinnacle moment of his kindness.

Final Nicky Scenes:

With everything we've learnt of Nicky throughout the movie, it makes total sense that he's the first person to reach Nile after her fall. Unlike Booker, who was just telling her to give up on her old life, Nicky tries to show her that her new existence is worth something just like he does with Andy.

As as stated by https://www.tumblr.com/wickedpact/629810255706079232/love-is-stored-in-the-nicky?source=share, him willing sitting in the middle is so quintessential Nicky.

After all the debates around what is their purpose and why they are what they are. This quick shot of Nicky smiling after Nile's line "maybe this is why Andy" is the resulution to his arc through the movie.

His arc doesn't work in the way that they usually work. He doesn't change in his beliefs or world-view and instead, it is other people realising that he was right. It also involves him realising his is right and having his world-view confirmed.

Conclusion:

Like Booker, Nicky serves a specific role in the movie. Most of the other characters are loud and outspoken but Nicky serves as the quiet warmth in the background. He doesn't go through any major crisis and seems mostly self-realised. On the opposite end of Booker, he stands as the angel (hah) on Andy's shoulder and gives her the second option for the reason for their life. Also, shout out to Luca Marinelli for doing all of this with such little dialogue!!

[literaryvein-reblogs]

Writing Notes: Dramatic Structure

Dramatic Structure - the framework that allows a story’s plot to unfold.

Aristotle’s ancient Greek text on dramatic theory, Poetics, was the first written work to examine story structure.

Since then, writers and readers have used various approaches to dramatic structure to organize and analyze the plots of plays, poems, short stories, and novels.

Dramatic structure is typically broken up into acts, scenes, and plot points. Examples of popular dramatic structures include the three-act structure and five-act structure.

During the 19th century, German playwright Gustav Freytag presented a plot diagram, commonly known as Freytag’s pyramid or Freytag’s triangle. Freytag's analysis of structure—which centers around a rising action, climax, and falling action—is now one of the most common tools for storytellers.

Key Elements of Dramatic Structure

Introduction: This early part of the story includes exposition—backstory information about the setting and the protagonist, or main character. After introducing the key elements of your story, present an inciting incident—also known as an exciting force—that disrupts the status quo of the story and sets the plot into motion.

Rising action: Following the inciting incident, the main character enters a new world and moves toward a clear goal. The action rises along with the stakes as the protagonist faces obstacles and trials.

Climax: The rising action culminates in a climax, or the turning point of the story arc. At this stage, the protagonist faces their main conflict head-on, opposing the antagonistic force of the story—typically a villain.

Falling action: Immediately following the climax, the conflict between the protagonist and the antagonist unravels, creating suspense about the final outcome. The falling action is often out of the protagonist’s control.

Resolution: Sometimes called the denouement, the resolution of a story concludes the plot, tying up loose ends and answering final questions.

How to Use Dramatic Structure to Write a Story

Although there is a vast variety of methods for structuring stories, consider these general tips for how to best structure your story.

Identify your theme. Before locking in a plot structure, find the central theme of your story. Integrate the central philosophical question of your theme throughout the dramatic arc of your story.

Develop your characters. Identify the goals, desires, needs, and weaknesses of your main character. The more you develop your protagonist, the clearer your story structure will become. Alongside the main plot of your story, create subplots that develop your secondary characters, including allies, mentors, and antagonists.

Experiment with genre. Different genres include different tropes when it comes to story structure. Depending on the genre of your story, choose a story structure that either confirms or subverts the expectations of that genre.

Choose a plot structure for your story. Dramatic structures can be linear, cyclical, or non-linear with flashbacks. The most common plot structure in films and television is a three-act structure with a clear first, second, and third act. Two-act stories often include a climactic midpoint where the stakes rise or the protagonist’s goal changes.

Adapt your structure when necessary. The possibilities for potential dramatic structures are nearly endless. Be prepared to change your dramatic structure based on how your story unfolds on the page. Stay open-minded during the writing process to determine whether your dramatic structure is organic and authentic to the story you’re telling.

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