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uomo-accattivante · 2 years

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At this point in its history, Marvel isn’t known for tinkering with its proven superhero formula. And yet “Moon Knight,” the studio’s current Disney+ series, has taken some unexpected chances.

Its debut episode introduced Steven Grant, a maladroit museum gift-shop clerk with a dodgy British accent, played by Oscar Isaac. Isaac also plays Marc Spector, a grizzled American mercenary who shares the same body with Grant — and who is also Moon Knight, the crime-fighting avatar of an ancient Egyptian deity.

As the story of “Moon Knight” has revealed, Spector has had dissociative identity disorder, or D.I.D., since childhood, and Grant is an alternate identity he created to shield himself from trauma and abuse.

“Moon Knight” was a risk for Isaac, too, even though his résumé already includes some of the biggest fantasy franchises Hollywood has produced. While he has made a whole career of projects that are many orders of magnitude smaller — performing “Hamlet” and “Romeo and Juliet” for the Public Theater and starring in intimate dramas like “The Card Counter” and “Scenes From a Marriage” — he has also been featured in film series like “Star Wars” and “X-Men.” Those blockbusters elevated Isaac to greater levels of recognition, but the grueling work they require and lack of input they typically allow made him hesitant when Marvel sought him for “Moon Knight.”

As Isaac, 43, explained in a video interview last week, the pleasure of “Moon Knight” was getting to explore the title character in a way that felt right to him, even if his approach did not always fit the Marvel mold.

Whether Moon Knight moves on to his own movie or a superteam like the Avengers “doesn’t matter so much,” Isaac said from the offices of the production company that he and his wife, the writer-director Elvira Lind, operate in Brooklyn.

“It’s a new character that we’re taking a chance on,” he said. “The nature of the story is this investigation, this slow-reveal mystery.”

“If it goes somewhere else, that’s great,” he added. “I’m glad it’s not just an advertisement for synergy.”

Ahead of the “Moon Knight” finale on Wednesday, Isaac spoke about the making of the series, of which he is also an executive producer. He also spoke about the unexpected oscillations of his career and about working for Disney while the company weathers a political firestorm. These are edited excerpts from that conversation.

Do you get two paychecks for playing two roles on “Moon Knight”?

I should, man. It’s funny because that’s what I was apprehensive about: I didn’t want it to feel like this masturbatory thing. When I started off, I was very adamant that I didn’t want to do the gimmicky, switching back and forth, Jekyll and Hyde part of it. I really segregated Marc and Steven, even asked if we could shoot them on different days. Just do it through reflections and don’t ask me to put on a different hat.

Some actors say they accept immediately when Marvel comes calling, but you didn’t. Why not?

I wasn’t, at that point, super eager to jump into a big production. I wanted to fall in love with acting again. I was a bit tired. I’ve got two young kids, and I was ready to take a step back, do smaller films that weren’t as big of a commitment. When this came, my immediate sense was, ugh, this is bad timing.

As a comics fan, did you feel like you were getting a B- or C-list character foisted on you?

Yeah, they’re pretty much down to the dregs. Although people said that for Iron Man, too — then it changes cinema forever and what an amazing performance that was. Part of the attraction was its obscurity, to be honest.

What were your inspirations for how you play Steven Grant?

It’s an homage to the things I love, like Peter Sellers and the British “Office” and “Stath Lets Flats” and Karl Pilkington. I was also watching “Love on the Spectrum” — these people are going on these dates, who are autistic, who are feeling all the same things that we all would feel, but they haven’t developed these masks to hide it all. It’s all out there in the open. There was something I found so moving about that. I started doing the character at home, and my kids were asking me to do him all the time

You spoke of feeling burned out on big-budget projects. When did you start experiencing that?

Toward the middle to end of the run on “Star Wars.” The commitment of time was such a long one, and the windows of availability were very specific. I started to get hungry for those character studies and working with those great directors.

You had worked professionally as an actor for several years and had some prominent theater roles. But did you find that big-budget films gave you some breakthrough opportunities?

There were a few supporting performances that gave me the opportunity to do really different characters on these big stages, like “Robin Hood” and “Sucker Punch.” What was fun was that nobody had any idea who I was. I played the King of England in “Robin Hood,” and nobody had a problem with that. Now that I’m more known, suddenly it’s like, can he play English? Should he play English? In this age, we know everything about everybody, and of course people have a problem with suspension of disbelief.

So as a Juilliard alumnus and a veteran Shakespeare performer, you didn’t think these types of films were somehow beneath you?

No, I didn’t feel like that. I wanted to make a living as an actor. I didn’t have the luxury of ethics; I didn’t have the luxury of integrity. [Laughs.] I felt like I could bring my point of view to whatever came my way. Early on, I was like, “If I had the one shot, I could prove …” And then I would get a chance, it would come and it would go, and I would realize, Oh! I guess I need another shot now. After a while, it was clear the only thing you can control is your craft and staying curious, and exercising that craft in whatever comes your way that you think is good.

Did starring in “Inside Llewyn Davis” feel like one of those opportunities for you?

That was completely life-altering in every single way. That was my first lead role. It was a Coen brothers movie. I played music. I still can’t believe that happened. I wanted it so badly and just worked my ass off beforehand. It was the serendipity of the moment that I did what I intended to do and the Coens took the risk on someone relatively unknown.

Was it strange that it led to even more fantasy franchise roles? Like, this is what they think of me?

I’ve been doing it long enough to know that there’s no “they” — it’s just people trying to make movies, whether they’re on a huge scale or a small scale. J.J. [Abrams] wanted to meet me [for “The Force Awakens”] while I was still shooting “A Most Violent Year.” I remember because Albert Brooks [his co-star on “A Most Violent Year”] left me a really funny message pretending to be J.J. before I went to go meet J.J. You take a leap of faith. And sure, had I not done that, perhaps I would have been available for some other thing that would have come my way. But no one ever knows.

You got an earlier shot at comic-book adaptations with “X-Men: Apocalypse.” It wasn’t well received, though I think it gets a bad rap. Is that a role you’ve disowned?

No, I don’t disown it. I know exactly what I went in there wanting to do and the reasons why. There were these amazing actors involved that I really wanted to work with, [James] McAvoy and [Michael] Fassbender and Jennifer Lawrence. I collected X-Men growing up, and I loved Apocalypse, I just found him such a freaky, weird character. And then you get there and you’re like, Oh my God, I’ve got all these prosthetics on. I’ve got a suit on. I can’t move. I can’t see anybody. All these actors I wanted to work with — I can’t even see who they are. I still think back to that time with fondness. I wish it would have been a better film and that they would have taken care of the character a little better, but those are the risks.

Would you count your time making “Dune” with Denis Villeneuve as one of your typical franchise film experiences?

Denis was the reason to do that. When he came to me, he actually didn’t have a role in mind for me yet. He was like, “I’m doing ‘Dune,’ are you interested? What role is interesting to you?” We decided it was Leto. It was challenging to be a very specific sound in a big symphony.

And you knew, going in, that it’s a character with a limited life span?

Yes, that was part of the attraction.

Was “Star Wars” your closest frame of reference when Marvel sought you for “Moon Knight”? Was that what made you wary?

They are such big, huge films. As fun as they can be, you’re outputting a lot of energy and then you leave and you’re just exhausted. That was part of the fear. I didn’t anticipate how much creative flexibility there was going to be — how much energy it gave me back.

How so?

Once Mohamed [Diab, a director on “Moon Knight”] and I started talking about what it could be if we could put our lens on it, we were like, it’s way more important that we’re true to D.I.D. than to some kind of comic-book back story. When you do the research on what causes D.I.D., it’s not like one thing. It’s not, you watched something horrible happen and suddenly you break out into all these different personalities. It’s from sustained trauma and abuse over time. This is a survival mechanism that clicks into place for someone who’s experiencing that. That they’re able to fracture their mind to survive it is kind of astounding.

For much of the series, Marc and Steven would interact in discreet ways, like talking to each other in a mirror’s reflection. How did you handle the sequences we saw in last week’s episode, where the two were often standing side-by-side?

I had my brother, Michael [the actor Michael Benjamin Hernandez], who is a great actor and shares my DNA, stand in as my alter. Other times, it was a huge challenge technically as sometimes, especially in the wide shots, I’d have to act with no one and remember the blocking I had done as the other character and respond to the lines being fed to me in an earpiece I wore.

Was D.I.D. a subject you knew about before making “Moon Knight”?

I didn’t. I had just done “The Card Counter,” which was all about trauma and living with P.T.S.D. I had been doing some research into that, and there was something that felt organic about seeing what’s on the other end of the spectrum.

Does “Moon Knight” speak to why stories about alternate identities and multiverses are becoming increasingly popular?

We live in a post-reality world. Things used to feel a lot clearer, and now they’re not. Nothing can be true or authentic anymore, and I think that’s being reflected in a lot of our popular culture.

You’re a prominent ambassador of Disney’s brand at a time when the company is experiencing conservative backlash and political retribution for its opposition to Florida’s “Parental Rights in Education” law, which its critics call “Don’t Say Gay.” Is this something you feel a personal investment in, and does that backlash affect you individually?

No, I’m not experiencing that. I’m not on social media, so luckily, if that is coming my way, I’m ignorant of it. But everything has a political undercurrent at the moment. Disney was forced to take a stand, and I’m glad that they took the right stand there. Sometimes silence or neutrality is just not going to work. It’s astounding to watch a vindictive politician try to own the libs. I grew up in Florida, and I recognize how dysfunctional the state is. But it’s an interesting time where everything is parsed, and if Disney is going to own so much of the entertainment industry, they’ve got to expect to come up against some tough decisions.

Are these the kinds of considerations you’re going to have to make now whenever you work for a major studio?

I’d rather not. [Laughs.] That’s going to require me to do a whole lot of research beforehand that I’d rather not do. I’d rather spend that time figuring out a good character.

There has to be some conscientiousness about it, but at the same time, you’re also trying to make a living and you’re trying to live in the world. I just want to make good stuff and hopefully try to do it in a responsible way.

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#oscar isaac #moon knight #marvel #mohamed diab #disney #star wars #dune #inside llewyn davis #x men: apocalypse #michael hernandez #mike hernandez #the card counter #a most violent year #robin hood #new york times

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iohourtime · 2 years

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Yamada Ryosuke: “Daikaiju no Atoshimatsu*”

English Title: What to do with the Dead Kaiju

Cinema Square 131

(Rough translation only. Please let me know if there are any errors. I don’t want to get in trouble, so I’ll just put a couple of photos up for now. I’ll share the rest after the magazine is out for a while.)

“[The film] is a large-scaled project driven by CG and tokusatsu**!”, said the director and writer, Miki Satoshi. It doesn’t follow the script of the normal tokusatsu films, but rather focuses on “how do you deal with the corpse of the dead kaiju”. The lead actor riding this curveball is Yamada Ryosuke, who was brilliant in “Moeyo Ken” etc. Will his role be that of a hero or an antihero***?

* Daikaiju no Atoshimatsu is literally translated as the clean up of the big monster, but the official English title appears to be “What to do with the Dead Kaiju”. I am using both the Japanese or English title interchangeably below.

** Tokusatsu is a genre of Japanese films/dramas that involve a lot of special effects, so kaiju films like Godzilla or hero films like Ultraman will fall under this genre.

*** I’m not 100% sure Datsu-Hero means an anti-hero.😅 If I go by the literal words, it means a departure from the “hero” character.

Interview

- This project is the first ever tag team of Shochiku & Toei. The director and writer is Miki Satoshi of the “Jiko Keisatsu” (Time Limit Investigator) fame. Now that you have firsthand experience in the “Miki World*”, how do you like it?

Yamada: Director Miki is someone who does not compromise. He has a strong commitment towards what he’s directing, so when it comes to lines in the script, he said “I don’t want you to change a single word or phrase” and it’s the first time I work on such a set. For me, it is quite tough since I’m the type that is used to arranging [my lines], and I think it is a fresh challenge.

* Director Miki is famous for the “Datsuryoku Kei” comedy, which basically have all the characters play the situation seriously, but what they do or say is really ridiculous, and the viewers get the comedy from the absurdity of the situation.

- The [subject of the] finished film is very fresh. As the title said, it is a story after the large kaiju is dead!

Yamada: It’s an idea that’s pretty out there. But when you see the words, “What to do with the Dead Kaiju”, you can’t help thinking, “Eh? Indeed what would you do with it afterwards?” (laughs) The “Miki world” shines a light on the parts that nobody had described before and I feel that we’ve made a new sort of film this time.

- In this movie, Yamada-san’s name is Obinata Arata*. You belong to the special forces.

Yamada: I thought it was a really cool name. Doesn’t it sound a bit like a tokusatsu hero’s name? I worked hard to create a character that will not lose to this name no matter which scene..

* The kanji for Obinata is literally “Bring Sword”, although he could be talking about the sounds? I haven’t watched enough hero movies to know the difference.

- [In the story], Arata disappeared suddenly 3 years ago.

Yamada: He’s a protagonist who has a mystery, so I think it is very important [to portray] the mysterious side of him who is keeping a secret from the start.

- Did Yamada-san make any suggestions to Director Miki?

Yamada: I proposed the hairstyle [for the character]. When I read the script, my image of Arata is a protagonist who has strong core values; “a man who will definitely not waver”. So to show this firmness in the character, I shaved the side a little and selected an all-back hairstyle. Director Miki asked for black hair. “Not your natural black hair, but jet black hair”, he said.

- It’s true that Arata was an “unflinching man” from beginning to end.

Yamada: When the commander of the special forces, the prime minister, and the ministers were in the midst of chaos and things were getting out of hand, only Arata would say, “You can’t do that”. His beliefs did not bend. Although the situation is completely different, in group activities, I usually think that “I’m not going to bend on this”, so I could understand the character and got into the role.

- The ministers are saying or doing weird things, which feels very much in line with the “Miki World”.

Yamada: It’s pretty strange, but everyone was super serious and wasn’t acting in a way to make you laugh. Aren’t there people who just talk normally but make you think they’re weird? Like, “What did you just say?” (laughs). The ministers are full of that type of people. Only their choice of words are strange.

- Tsuchiya Tao-san plays your ex-lover, who was your colleague when she was in the special forces and is now the secretary to the Minister of Environment. Is this the first time you acted together?

Yamada: Yes. Although we have been on the same variety program before. She’s a very gentle, pure, and natural person, so it is really easy to work with her.

- And then there is the pro-explosion expert who was an ex-member of the special forces played by Joe Odagiri-san.

Yamada: When I first met Odagiri-san, I simply thought “That’s Joe Odagiri. So cool!!”, just like a regular home viewer (laughs). As expected, he feels different from normal. In the past, when I was still living with my parents, there was a pet shop nearby. I went there with my mom and met his family. I told him about that and Odagiri-san said he heard about it too. I was so happy.

- Just now, we were talking about how “you’ve made a new sort of film”. Can you please tell us your thoughts about the finished film?

Yamada: I was shocked at how much bigger the monster was. We’ve been told that “it was 380m long”, right? But visually, it felt much larger. The scale of the film itself also felt large, I guess the genre is “fantasy tokusatsu entertainment”. [The monster] was of a size where “when such a giant monster dies in the city, what will happen when it decomposes?” would be a real concern. And then, the gas from the corpse will affect the lives around it; that situation is [similar] to what’s happening in [our] world. You can also think of [the film] as a simulation of what could happen in our world in the near future and it explores facets of human nature. On that front, the difference in Arata and the ministers’ reaction is really interesting. When I was filming, I had no scenes with the ministers, so when I watched the finished film, there were many times I [laughed out loud]. When you compare the two, there is a sharp contrast between their fervor [in the matter]. [The film consists of] a stacked cast who were seriously doing idiotic things; it is this type of film.

- As the lead in this film, what are some things you are especially concerned about?

Yamada: It is to play a man who takes completing his mission seriously in a straightforward way. Arata is super serious in order to show the gap between him and his surroundings. He is a mature character in spirit, and in a sense, I want to show “a different Yamada Ryosuke from what you’ve seen before”, objectively speaking.

- Of course there were also especially difficult scenes to shoot. Explosive scenes, etc.

Yamada: That was fun. I was very excited. Although relatively speaking, my body can tolerate quite a bit [of weight], there was a scene where I had to carry missiles by myself and walked on the surface of the monster and it was really heavy. I had to carry 3 of those. Perhaps it was determined to be impossible to show the unique form [of carrying 3 missiles] without using [props] that were close to the real weight. I tried holding it [the first time] and found it really hard to grab them with my hands, so I stooped over and carried them even during break time. It was like I was doing a bit of weight training.

- The scenes where you were riding a heavily armored motorbike which left a strong impression.

Yamada: I didn’t have any experience riding motorbikes. Moreover, the bike was customized for a fantasy tokusatsu entertainment [project], so riding it was hard. Arata was not an undisputed hero, but he had the “hero position”, so this was an item that showed off his coolness with amazing effectiveness. As for the “hero position”, when I put on the special forces uniform, I felt like I’ve turned on the switch to [hero] mode and became stronger. However, there are no battles in this film; it is single-mindedly about me struggling with the “clean up of the dead kaiju”. (laughs) In the end, when you think “Finally!”, it goes down an unexpected path*. Please look forward to that when you’re watching the movie.

Personal Q&A

* I read the novelization and if the ending is exactly the same, it is pretty WTF. 😅

Q: How often do you clean?

A: Every morning, I’ll vacuum. Although I don’t have to do it, I am just free in the morning.

Q: What’s your favourite scent? Hated scent?

A: My favourite is the scent of osmanthus. While I dislike a lot of scents, among them, the most memorable one is honey bee feces. I smelt it a while ago on a variety program (Itadaki High Jump) and it was really stinky! When I opened the tiny bottle and held it near my nose for a brief second, the strong stench was the most unpleasant and smelly thing I’ve experienced in my life. In “Daikaiju no Atoshimatsu”, the corpse started to decompose and gave off this odious smell, affecting the people. I was remembering the small of honey bee feces when I was trying to picture that smell. (laughs)

Q: What’s your favourite hero drama or movies?

A: Probably all boys will be into tokusatsu stuff when they are kids. It was for me and I watched “Denji Sentai Megaranger” passionately. These days, I like dark heroes stories, like the movie about Spiderman’s nemesis, “Venom”. These slightly twisted characters attract me. They have bad excuses for their bad behaviours, which is quite interesting. Compared to stories about pure justice, these hero stories with a slightly [twisted] point of view are more worth seeing.

Story

Runtime: 115 minutes

The giant monster that had been bringing unprecedented terror to human kind suddenly died one day. As the citizens celebrated, the corpse started to rapidly decompose and expand. If it explodes, the country will be destroyed! The countdown towards utter destruction started. Amidst the time of despair, the fate of the citizens and the responsibility of dealing with the corpse was not entrusted to the police or army, but Obinata Arata, a man who disappeared mysteriously 3 years ago.

[Some thoughts: So I skimmed the novelization of the movie. Based on the director’s style and the description of events, it is probably a satire, using the dead monster to allude to real events such as the earthquake from 2011 or even the handling of covid. It definitely feels like a commentary on the handling (or rather mishandling) of the situation by the government. However, the book itself is written from the characters’ POV complete with inner thoughts, etc, so it didn’t feel very comedic but more like a human story. However, I don’t think the movie itself is going to explore everyone’s inner thoughts. There are some possibly funny scenes but it’s hard to gauge how funny the film will be without seeing it. That’s the danger of satire!

To fill in a little detail about the romantic subplot, Arata and Yukino used to date. Arata disappeared mysteriously 3 years ago and came back 1 year before the start of the story. Yukino is married to Amane now and Amane is incredibly jealous of Arata… for reasons.]

#daikaiju no atoshimatsu #cinema square 131 #translation #interview #大怪獣のあとしまつ #yamada ryosuke #what to do with the dead kaiju

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foodbytesback · 4 years

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The Rise and Fall of Bon Appetit

Sometimes life comes at you fast. Sometimes, that means stories in the food industry break in such rapid succession that you have no time to blink in between. Sometimes, it means someone found out about something racist you did a few years ago. What happens when it’s both? Ask the fine folks at Bon Appetit.

In recent years, Bon Appetit made a name for itself, rising from the ashes of dying print media, through its Youtube channel featuring a diverse cast of personalities. But over the course of this past week, many of the publication’s executives have been found to foster a toxic workplace culture, rife with racism, sexism and homophobia.

Before I get too deep (because this is going to be a long one), I feel the need to point out that while this story’s breaking happened to coincide with Black Lives Matter protests across the country and gained traction from people’s outrage towards inequality, the events that have unfolded should not be blamed on “cancel culture,” “political correctness run amok” or any other reactionary dismissal of critical thinking. Adam Rapoport didn’t lose his job because Black Lives Matter, Black Lives Matter came to be because of the damage that many in positions of power like Rapoport have done in both mainstream media and society as a whole.

[Also, yes, there are going to be a lot of links to Instagram posts that have been screenshotted and uploaded to Twitter. Clearly the real takeaway from this debacle is that I need to get an Instagram account. Also also, thanks to Tumblr’s new rules about offsite links, you’ll have to go to my main site for the full receipts.]

Preamble

Shortly after the killing of George Floyd, Adam Rapoport, Editor-in-Chief at Bon Appetit, wrote an editorial highlighting some of the coverage they’ve given to black chefs. Many criticized this as being superficial and performative, with others saying that BA has, on numerous occasions, shut down articles relating to black culture for not being “trendy” enough or otherwise was discriminatory towards black employees. (Also, the repeated use of “uprisings” instead of “protests” seems a little suspicious.)

An article from Eater criticized the role BA played in the appropriating and whitewashing of many cultures’ ingredients and cuisines (gochujang, Aleppo pepper, and sumac seem to be some of BA’s favorite ingredients) that had become prevalent in food media in recent years.

While it’s a fairly minor offense in comparison, it may also be worth bringing up the time Rapoport accidentally called Priya Krishna “Sohla,” the name of his other Indian employee.

Monday, June 8th

Food writer Tammie Teclemariam posted a screencap of an Instagram post made by Rapoport’s wife, which depicted the two of them donning Puerto Rican stereotypes as Halloween costumes, brownface and all.

Many were quick to declare their outrage and demand that Rapoport either resign or be fired. Meanwhile, Sohla El-Waylly, one of the leading stars of the Youtube channel, was one of the first BA employees to speak up, and disclosed that this kind of behavior was just the tip of the iceberg. She said that BIPOC workers have been paid disproportionately for their work, including not being paid a per-video commission that the white stars of the Youtube channel receive.

Molly Baz, one of the aforementioned white stars, announced that she would no longer make videos for BA until all of El-Waylly’s demands were met. One by one, their white coworkers chimed in in agreement.

Former staff photographer Alex Lau also wrote an extensive tweet thread about his experiences at BA, including how he had futilely tried to fix the system from within.

By the end of Monday, Adam Rapoport had resigned from his position as Editor-in-Chief.

Tuesday, June 9th

Since Rapoport’s official resignation did little to fix many of the systemic problems in place at BA, many began to turn their attention to other senior members of the staff.

Some came for Andrew Knowlton, the Restaurant Editor, for behaviors such as gaslighting an employee for trying to bring up racist practices in the offices.

Others called out Matthew Duckor, a VP at Conde Nast and BA’s former “Head of Video” (Did a 3 year old come up with that job title?), for a series of old racist and homophobic tweets. He tried to apologize by saying that he was young and didn’t know any better at the time, but many were quick to point out that he was, at the youngest, 20, aka for all intents and purposes An Adult when he wrote those tweets.

Tammie Teclemariam returned to ask current and former BA employees to DM her information about Duckor that they didn’t want to go public with themselves, ranging from his hand in the aforementioned pay disparity to making inappropriate comments towards women.

Teclemariam also did even more social media muckraking and found that Drinks Editor Alex Delany had once decorated a cake to look like a Confederate flag, while others found things like a Vine where he says the f-slur and some questionable comments about women on this Tumblr. He later deleted his Tumblr and Twitter, and issued a cookie-cutter apology on his Instagram.

She also vague-tweeted that Brad Leone, one of the most beloved stars of the Youtube channel, is “possibly not a great guy,” but later added, “don’t fret.” At that point, some began to accuse her of just trying to stir the pot.

Ultimately, Matt Hunziker, director and camera operator for Leone’s show, reported that the higher ups were ignoring the situation regarding the pay disparity, and that they were not “learning and growing.”

Wednesday, June 10th

By this point, journalists were able to do more thorough investigations and put together exposés that were more than a blurb about an accusation followed by a nut graph.

Business Insider published an article where they interviewed 14 current and former BIPOC employees of Bon Appetit. In addition to information already discussed above, it also described events such as an incident where several BIPOC staffers were told they weren’t allowed the test kitchen. (Carla Lalli Music, the Food Director at the time, would later defend her stance in the affair on Twitter.) Ryan Walker-Hartshorn, a black woman who served as Rapoport’s personal assistant, recalled that she would often spend her day doing menial tasks like polishing her boss’s golf clubs or trying to teach his wife how to use Google Calendar. In another incident, Knolton called Rick Martinez a “one trick pony” for only developing Mexican recipes, which is what he was being forced to do so BA could tout “diversity” bonus points. Martinez would also say that the magazine under Rapoport’s tenure “went from old and irrelevant and white-washed content to young and trendy white-washed content." (Martinez would also upload a more graphic description of the treatment he received to his Instagram that same day.) Later that day, Business Insider would also report that Duckor had left the company.

Vice would liken Rapoport to Michael Scott from The Office, but noted that that kind of bumbling, endearingly insensitive bad boss archetype isn’t as charming in the real world where real employees are being affected. Parallels were also drawn between the Youtube channel and The Office itself, stating that the “quirky workplace” facade put on in the videos helped hide the more sinister practices that lurked beneath the surface, and that the notion that they were “one big family” often pressured BIPOC into doing more than their fair share for the greater good.

Jezebel showed email transcripts where Rapoport argued the semantics of having his costume be called “brownface” when he wasn’t wearing makeup, and had to be explained to, like a child, that the term refers to the racist caricature and not the literal act of putting brown makeup on one’s face. What a douche.

Bon Appetit published an official apology on their site, a whole two days after the controversy began. Many believed that their empty promises of “learning from their mistakes” were a day late and a dollar short.

Meanwhile, on Twitter, former BA writer Alyse Whitney said that senior editor Andy Baraghani had, on several occasions, used his influence to undermine her efforts. Whether this had to do with racism, sexism, or just Andy being petty is up for debate, but still constitutes as unprofessional behavior to say the least.

Thursday, June 11th

As interest in the story seemed to wane for many in the industry, Claire Saffitz, arguably the face of the Youtube channel, released another statement on her Instagram. She said that her relative silence was due to taking time to find the right words, and that the same-old promises to “learn and grow” that most had been giving felt empty and performative. Unlike many of her white coworkers, she directly apologized for being complicit in the toxic environment and for not using her status to try to leverage even pay for her BIPOC coworkers.

Another BA Youtube personality, Amiel Stanek, also released a statement in response to BA’s official press release, where he demanded Conde Nast to stop avoiding action by setting vague timelines for changes or making excuses for not giving BIPOC workers raises like “the money just isn’t there.”

Associate editor Christina Chaey also opened up about her experiences with being pushed into more and more videos to “diversify” them- all without compensation.

Friday, June 12th

The biggest scandal of the day was that, as Teclemariam predicted, Brad Leone is possibly not a great guy. A leaked screenshot of an Instagram DM showed him making callous, almost Trump-y comments regarding El-Waylly’s demand for better pay. He also allegedly said that if Delany were to be fired (as of that day he had been sent on leave), he would quit.

Saturday, June 13th

The New York Times published an article suggesting that the issues prevalent in BA’s management may go all the way to the top of Conde Nast. Highlights include Chief Executive Roger Lynch chastising the whistleblowers within the company for raising their concerns in such a public manner and an account of an incident where he gave his black assistant a guidebook on how to speak “proper” English.

The Sporkful released a special episode of their podcast containing interviews with several current and former BA BIPOC workers. Nikita Richardson divulged that after she was laid off, a story she had already done all the leg work for was picked up and credited to Amanda Shapiro, a white staff writer who is now acting Editor-in-Chief in lieu of Rapoport. Sohla El-Waylly confirmed that the self-congratulatory editorial Rapoport wrote in the wake of George Floyd’s death was the real beginning of the end, and that the racist photo was just the final straw. She also described a company-wide Zoom meeting held after the photo began to be spread around where Rapoport issued a half-hearted apology, and began talking about how he would “fix the brand” before El-Waylly demanded he resigned. Furthermore, she revealed that after her Instagram posts began circulating rapidly, Duckor had offered her a new contract with increased pay, but she is refusing to sign it until all BIPOC have received similar compensation. She also said that she had a hand in the wishy-washy statement that BA had published on Wednesday, and said that it originally had taken much firmer stances on the issues but their PR office made them tone it down. Also, she commented that Leone, for the most part, just seemed like she “genuinely think[s] [that he] just found out racism is real.” Ultimately, she was glad that the story was getting as much coverage as it was, since it made her feel that her voice was finally being heard.

Sunday, June 14th

Baraghani released a statement on Instagram apologizing for his behavior, saying that trying to achieve his personal goals in BA’s toxic, competitive environment made him lose sight of solidarity with his fellow BIPOC.

While that may seem like the end of the story for now, it’s important to note that, even with the resignation of two executives, nothing has truly been done to fix the systemic problems at hand.

#bon appetit #adam rapoport #matt duckor #alex delany #sohla el waylly #molly baz #carla lalli music #andy baraghani #brad leone #clair saffitz #amiel stanek #tw racism #tw homophobia #tw sexism

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leverage-commentary · 3 years

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Leverage Season 2, Episode 15, The Maltese Falcon Job, Audio Commentary Transcript

Dean: Hi I'm Dean Devlin, Executive Producer and Director of this episode.

John: I'm John Rogers, Executive producer and Writer.

Chris: I'm Chris Downey, Executive Producer, and this is the Maltese Falcon Job. Part two of our season two finale.

John: And this is a lot of fun, this was- this was born of an episode we never wrote. Just- we really wanted to just put them on their pins.

Chris: Right.

John: Just really knock them on their ass and so- were you handheld there? Handheld whenever there's a problem, right?

Dean: Well this is actually a 360 steadicam. And what we're trying to do is let- their entire world is spinning out of control, so we just wanted this just to keep spinning around. They don't know where they're gonna land.

John: This is a fast, hard reset. The second- the second half of the season finale last year, we kinda eased into it, we reset the locations.

Dean: Here we throw you right into it.

Chris: Right.

John: Yeah, you best be paying attention and you really see when, you know- they're the uber team. You know, you really need to put them onto the wall, and the FBI and Interpol in this situation, they're utterly lost. And Interpol, it was interesting, it was something we were saying last- cause it was Mark Sheppard credit in the last episode. We were looking for a villain, and the problem is we kept coming up with this recurring, separate villain. We’re like, ‘We've never met this person before, we don't care. The person you really want it to be is Sterling! But he's an investigator.’

Chris: ‘He's an insurance investigator, what does that have to do with insurance? We have to find a way to make this about insurance?’

John: Oh man, we killed ourselves.

Dean: Do you remember what you said John? The night-?

Chris: It was between you two, right?

John: It was us. I Skyped you at like 11 o’clock at night, you had come back from scouting-

Dean: And we were talking, and the idea came up, ‘What if we just made him interpol?’ Do you remember what you said?

John: No.

Dean: You said, ‘We are either coming up with the best idea we’ve ever come up with, or we’re both reall,y really tired right now.’

[Laughter]

Chris: And it was.

John: It was great.

Chris: As soon as I heard it, I said, ‘That’s a great idea.’ Because we needed to give him a wider mandate.

John: Yes, if we're gonna keep them as a recurring bad guy-

Chris: Great idea.

John: And what was great is, we already shot the episode that he was in before, so we had to go back and reshoot that ending.

Dean: Here's my favorite Tara bit, of her whole arc.

John: Oh, that's right.

Dean: And this man was actually our local assistant.

[Laughter]

Chris: That was AJ.

John: Yes. And a fine actor by the way.

Dean: He did a great job.

Chris: Oh look at this shot, look at this.

John: Look at just the look he's doing. Just a good 1960s Zero Mostel take there. Yeah, ‘Oops.’

[Laughter]

Chris: Mrs. Robinson.

Dean: Comedy frame.

John: Comedy frame. We got like nine takes of Christian reacting to that by the way.

Dean: And my favorite is they both originally put their heads back, and then only Christian’s head came back out again, but we didn't have time for that.

Chris: Oh I love that.

John: We can't break for comedy too much here, cause you've got the momentum going.

Dean: Yeah.

John: And you're like, you have to keep resetting - they are in trouble. This, by the way, great hack taught to us by Apollo Robbins.

Chris: Yes.

John: Our thief consultant took us through how you can get access to the hotel computer system through the back of your television.

Chris: Yes.

John: This is a real thing. Please don’t-

Dean: Please don't try this at home.

Chris: Please don’t try this.

John: Don't try this at home, but most hotels have internet enabled televisions now, and that allows you a backdoor into the-

Chris: It's a good example, too, of our team is so good at what they do, that we always try and look for ways to take away all their tools and find a clever way they have to use whatever's around them to-

John: Yeah

Chris: -you know, get their information.

John: Yeah, and that's again, constrained in time, constrained in space.

Dean: And that little porno name here, we had to get clearance on.

John: I know. We came up with so many pornos that were real. That we came up with the most ridiculous porno name, ‘Nope that's a real one, that’s a real one.’ What did we land with, Indie Panties Day?

[Laughter]

John: Yeah, there's also- I wonder if we got it on the DVD, a really creepy, awkward beat after they’ve watched the porno that Aldis and Beth did, just very.

Chris: That's a nice little viral video.

John: Yeah we’ll have to find that.

Dean: Yeah.

John: Oh, and a beautiful three way pass, by the way. That was a tough shot, you know, in a crowded-

Dean: And it's a callback from the Zanzibar Job.

John: Yes.

Dean: Where they did a similar three way.

John: Yeah.

Dean: And I love this local actor.

John: Oh man, he's fantastic.

Dean: Harold rocked it.

John: ‘Yes, it was delicious.’ Yeah no, Eliot's impatience. This, by the way- getting a hotel key without your ID, I was a little fuzzy on whether it would work or not. I had written it, and I was like ‘Ah, am I kinda cheating?’ So I went to a hotel and did it.

[Laughter]

John: Two days before we actually did this.

Chris: You did?

John: Yes. I won't tell you what hotel because they shouldn't have done it, but I got a hotel room key that way.

Chris: That's great.

John: Yeah. It's amazing what you can do if you have no fear of prosecution.

[Laughter]

John: ‘Oh, I'm doing a television show.’ And this was tough. We had to split them up, we had to figure out what the geography was- oh he hates Sterling so much.

[Laughter]

John: And Mark Sheppard just teeing off, just-

Dean: Mark is delicious in this part, man.

John: Yes.

Dean: I'm telling you, I could just watch him play this guy all day long.

John: Yeah, and what's great is Richard Kind, kind of, really kind of justifying, really doing the evil speech of evil, ‘He's a good mayor.’

Chris: Yeah.

John: And he was the one who came up with, ‘I’m good for Bellbridge.’

Chris: ‘I was good for Bellbridge.’

John: ‘I'm- no matter what I did, I did my job, you know.’

Chris: I like, too, that we have Nate and the mayor both-

John: Both drinking.

Chris: Both drinking.

Dean: Yeah.

John: I think that was on the day we came up with that, where Nate would get the booze from.

Dean: Right.

John: Same place. I think we were just- cause this is the same hotel room. That was the fun of this episode, it was figuring out all the identical space- the fact that all hotel rooms are identical.

Chris: Right.

John: And that we suddenly realized, ‘Wait that means we can shoot in one and just redress.’ This is a long ass speech, this was a tough day.

Dean: And again done in a one-er.

John: Yes.

Dean: So the degree of difficulty for poor Mark was very, very high, but he knocked it out again.

John: He's really abused in television. Cause I will tell you right now, a lot of show runners will be like, ‘I have two and a half of impossible bullshit, get me Mark Sheppard in here.’

Dean: Right.

Chris: He's- I think he went from here, he was- he did the- I guess that three part CSI-

John: Yeah.

Chris: Where they had all the CSIs in one link and he was the bad guy in that, and he works.

John: He's a great- he really in that British actor tradition, yeah.

Chris: Yeah.

John: And this- this bio of this arms dealer is pretty much just a bio of an arms dealer we took. I'm not gonna tell you who, because it was Chris’s idea and if you're angry, you should take your vengeance on him and his family.

[Laughter]

John: And not me, I am a big fan of arms dealers.

Chris: Paul Blackthorne, great- what is he-?

John: Well he had done Dresden Files, I knew him from that.

Chris: Dresden Files.

John: But he's, you know, nailed the accent, and he's also really tall, he's got a physically imposing presence.

Chris: Yeah.

John: And Tim’s tall, and it's really hard sometimes, to find the villains that can kind of, you know. And this was a great scene, and really one of the few times that the team lays into Nate. And I like, by the way, Nate’s getting more and more rumpled. Everyone else is kind of pulling it together, and he's just getting rougher and rougher looking.

Chris: Didn’t we have some weather here?

Dean: On the outtakes reel that's actually on this DVD, you'll see some funny outtakes from this scene.

Chris: With the weather right?

Dean: With the weather and Tim’s hair.

[Laughter]

Chris: Oh wow.

John: Oh right, even Chris is having a problem here and he's in a ponytail. Yeah the wind- the whole day we were shooting this we had thunderstorms coming through.

Dean: Right.

John: So we were literally, ‘It's sunny. Go, go, go!’ And running down and getting the exteriors, yeah.

Chris: Yeah.

John: Yeah we banged this out fast, man.

Dean: And yet they really nailed it. Again, when our actors dig in, they find gold.

John: And this was a big moment, this was- this is something I think that people sometimes ask, ‘Why does Eliot do this?’ Eliot has made himself a promise, this is his job, he will keep them safe.

Chris: Right.

Dean: And Nate realizes-

John: That's all he has.

Dean: Nate realizes for the first time he's actually let his team down.

John: Yeah.

Dean: And now he feels like he has to make it up to them.

John: Well, you know, when Parker does it.

Dean: Yeah.

John: I mean that's the thing, Parker never gives- expresses- she’ll tease, she’ll express sarcasm, but disappointment- you know, ‘Be the person we came back for.’ She's referencing the season opener.

Dean: Right.

John: And that's the problem, is addiction- he's allowed himself to be- he's no longer the guy who used to chase them.

[Silence]

John: That's me drinking my Guinness, don't mind me.

[Laughter]

John: Oh god. What would I do without booze?

Dean: So now we come back to the hotel.

John: Was that on mic? Alright.

[Laughter]

John: So we’re back on the hotel.

Dean: And again, our clue from the previous episode of the Maltese Falcon.

Chris: Really key to watch these two back to back folks.

Dean: Oh, now this is-

Chris: I mean, maybe get a sandwich, but don't do much more than that.

Dean: This, I think, is one of my favorite bullet time shots that we've ever done.

John: This was not as- not quite as insane as- and America thanks you for Beth in the French maid outfit.

Chris: The french maid.

Dean: It’s after this gag.

John: Yeah. Not quite as insane as the- by the way, this moment is based on a comedy club in Winnipeg, when- where the comics would go perform, it was a contest amongst them to see how long they could go without leaving the hotel room, and without letting the maids in.

[Laughter]

Chris: Cause there was no-

John: There was nothing to do.

Chris: Nothing to do.

John: So it was like, ‘I went 40- I went 72 hours; the maids left the towels at the door.’

Dean: Great passing out scene.

Chris: Oh there we go.

John: That man is passed out. And that looks like my bed in every stand up club I ever went at.

Dean: This was the bullet- this was a very complicated bullet time shot.

John: Is this as bad or worse than the pilot, where you did four different directions?

Dean: No, it's not as bad as the pilot, but the timing of it is hard because of the extras and the switching of directions.

John: Yeah. So we start with one-

Dean: And we were using a different steadicam artist who had never done this before.

John: Oh, that’s right.

Dean: So we had to teach Norbert how to do it while we were doing it.

Chris: Oh, that's right.

Dean: It was very tough.

Chris: Cause our camera guy had a-

Dean: It was the one day Gary Camp was actually sick.

John: Yeah.

Chris: His tooth exploded or something.

John: Yeah, and he still showed up for work, by the way.

Chris: He did.

John: With a face that looked like somebody had worked him over with a bat.

Dean: Now originally you had a much more complicated gag to stall, and then you came up with this gag, and we were on the floor laughing.

Chris: Yeah, this is funny.

John: You said, you were like, ‘I can't shoot that gag, all I have is the elevator’ I was like ‘Alright, well we’ll do this.’ And it's funny cause it was really a throwaway, and then the more we talked about it, the funnier it got.

Dean: Yeah.

John: As you realize it's just comedy beat, after comedy beat, after comedy beat. Also: Mark Sheppard.

Dean: Yeah.

Chris: Mark Sheppard does the- he takes you through the-

John: The fives stages of death and dying.

Chris: The array of reactions.

Dean: This is-

Chris: Puts on a [unintelligible].

John: And by the way- same elevator, we’re just changing the floor number on every shot.

Dean: And the plants.

John: And the plants.

[Laughter]

John: So yes. And we- but we did run Tim up the stairs a lot that day.

Chris: We did.

Dean: I'll tell you this may be my- the funniest gag we've ever done.

John: Just cause both actors- oh this- just the seething.

Dean: The rage.

John: And both actors kind of really digging in on it.

[Laughter]

Chris: Oh.

John: And then...

Chris: Just kidding this right on his reel, this is all the different, kind of, reaction to it.

John: And I like, he's almost too tired to keep doing it. And up.

Dean: But what sells the whole gag for me is this last one. Because at this point now they've done everything they can, and they just don't care anymore.

[Laughter]

John: They're just.

Dean: They're done.

John: They’re done, they’re just exhausted. And now- now Nate can give up. Yeah, he's bought them enough time to do what they need to do. And also this was a nice beat, cause Mark made a point of it, it's like if he just had one more second he would've figured it out.

Chris: Yeah.

Dean: Right.

John: You know you can never- Sterling- you always have to play fair with him.

Dean: Right.

John: You know he's always this close to figuring it out. These guys were great as the vaguely resentful FBI agents.

Dean: Exactly.

John: Because he's very insulting. And a timing joke. Mark carries a lot in this episode.

Chris: Door- door closed, there you go, door closes, door opens.

Dean: Mark had his work cut out for him this episode.

John: Door opens. ‘Hey, Bob.’ Yeah, these two had a lot of fun. There’s about 900 different takes of this. And oh this was tricky, because when we got up there, we were shooting on the top floor, but that meant we couldn't double the corridor.

Dean: That’s right.

John: Because we had the skylights.

Chris: Oh, hm.

Dean: So we had to find other corridors.

John: Yeah, and sometimes people were sleeping, sorry about that.

Dean: This is a very simple bullet time shot, but a very effective one, I think.

John: Yeah, the big reveal.

Dean: Just the, ‘viola.’

John: And you're out.

Chris: How did they do that?

John: A lot of fun. And a wink, which would distract any normal human. And this is- I'm trying to remember where we came up with this bit. Oh the carts were brutal, trying to find the cart we could put a dude in.

Chris: Oh yeah.

Dean: But this bit here is a call back to the episode with the kids-

John: Yes. Yeah That's right- where Hardison and-

Dean: Cannot rappel.

Chris: That’s just great.

John: Rappelling just does not fit well, he's just not left as- and by the way, it really- real risk of Aldis Hodge strangling there. Sorry about that, Aldis.

[Laughter]

John: And he's figured it out. Yeah and that was a lot of fun. Nashua, New Hampshire, near where my sister lives, by the way.

Chris: Right that's where they're sending it.

John: That's actually where they are sending it- they're sending that trunk to my sister’s front lawn. What little I can do. And this is- what's fun is that we- the camera work is very energized, the game's afoot, and the second half- it’s interesting, the two previous seasons, the two episodes both had their own internal structure. This really just plays as a movie because all the set up is the first half.

Chris: Yes.

John: This entire episode is the rock that's been pushed down the hill, and we’re just chasing it.

Chris: And everything is paying off.

John: Yeah. And again, drawn from my experience in standup years, all the hotel rooms look alike. If you were to wake me up in any random hotel room, I woke up and my trash was there, I'd assume that that was my room.

Chris: Sure. I mean as any business traveller can tell you, they'll wake up and not know what city they're in.

John: And Richard Kind, by the way- poor Richard Kind spent a week in that bathrobe.

Dean: Yeah.

John: On docks, on oil tankers, in hotel rooms.

Chris: Yeah, it’s true.

John: That was- he formed a very unhealthy relationship with that bathrobe.

Dean: And had to be in the bathrobe the whole time.

John: Yeah. This is my favorite bit- they're just the type of people who cut up people in tubs, that's their job.

Chris: Yeah.

Dean: But this little look of Eliot's right there tells you everything.

Chris: ‘Alright, I'm gonna cut her up.’

John: ‘Alright, this is my day.’ Aldis’s character Mr. Joshua, of course, named after the Gary Busey character from-

Chris: Lethal Weapon.

John: Lethal Weapon. If we need a killer's name, why not-?

Dean: Go to the best.

John: Why not reference the best? Bunch of different versions of this. And I love them playing good cop, bad cop. But it was interesting, we had a version of this speech- and I will give this up to you as director, that explained everything. And you really looked at it and said, ‘Alright, here's the actual three things we need for this to make sense.’ Cause as the writer you never know, but you come at it from a storyteller like, ‘Here are the points the audience needs to be emotionally engaged to move forward.’

Dean: And it was a tough call, because Richard did such an amazing job with this speech.

John: Yes.

Dean: You almost didn't want to lose anything. But, you know, we have time that we have to come in at the end of the show, and we needed to lose some time, so we really boiled it down.

Chris: Oh was this something that came out in editing? Or in-?

John: Yeah.

Chris: Oh it did, I didn't even notice.

John: You didn't notice, exactly.

Chris: Yeah, yeah, yeah.

John: The speech was about twice as long. Because really there's a whole mini scene between Richard and Tim there.

Dean: Right.

John: And it really was- you know, you got it, he's bargaining for his life. That’s all you need to know.

Dean: And Richard is so knocking it out, you're actually learning a lot more with even less.

John: Yeah. His relationship through his attitude. No, there are times- even a writer would admit-

Dean: And that's all real sweat, by the way, no sweat bottle came in there; he earned each drop.

John: Boom. I like Aldis’ vague resentment at not being allowed to punch the guy.

Chris: Yeah.

John: Because again, everyone has their niche. And also the great expression Beth chooses there. ‘Eh, I've been in the tub waiting while you beat up a mayor. I'm out now.’

[Laughter]

John: ‘What are we doing next?’

Chris: Yeah, completely blank affect.

John: Yeah, exactly.

Dean: Day at the office.

John: Yeah.

Dean: But the subtle look of feeling like she's on a sinking ship.

John: Yeah.

Dean: That we get out of Tara at the end of this scene, is really very great for setting up the turn.

John: And even- It's interesting, to watch Chris choose- Aldis is having basically Hardison question dad, while Eliot is instead watching the interplay between the two of them to see how Nate treats Hardison.

Dean: Right.

John: Knowing that's the better indicator of what the relationship is. He does a similar thing in 207, actually, between he and Sophie- between Gina, with the bomb scene.

Dean: Right, right.

John: Yeah.

Dean: And then here we drop our red herring. Has Tara jumped the shark?

John: For a minute or half we considered doing it. For a minute and a half, what would- the problem was, it's Jeri Ryan, and you like her and you're hanging out with her and working with her and it was like, ‘Nah, I don't want the- I like the character.’

Chris: Well it sets up the- the act where it all pays off is one of my favorite acts we’ve done.

John: It’s one of my favorite bits ever. This, by the way, it seems like it's just an act break, it's horrible. Sterling has used his- the fact he used to be best friends with Nate Ford, to know that he is going to use his child’s- dead child's art to trap him.

Chris: Yeah.

John: This is a moment that was kind of thrown away, and the two actors, I saw them actually talking about it on set and they really dug in on it.

Chris: Yeah.

John: It's like, that is a horrible moment. You know, because he knows he won't leave town without that, and Sterling is the only man on earth who knows he won't leave town without that.

Chris: Right.

John: Yeah. And it's one of the few times we’re behind the desk there.

Dean: Yeah.

John: Yeah. It's a weird place to shoot; it's just got that picture behind it, it's just trough to frame

Dean: But we wanted to get there and we found a place. Now this scene is unusual in that we've gone now to our handheld, which we do when our characters are either in physical or emotional jeopardy. But unlike other scenes, we went musicless here.

John: Yes.

Dean: Because the performances were so strong and so right on-

Chris: Oh that’s great.

Dean: -we didn't want to tell the audience what to feel. Just- we just wanted them to feel it.

John: Also in the tradition, that's the same glass.

Dean: Yeah.

John: Nate and-

Chris: Oh that's the same glass from- from Nate in-

Dean: Season 1.

Chris: Season 1. That’s great.

John: Nate and Sterling have one glass they pass back and forth between each other depending on who’s winning.

Chris: That's great.

Dean: Right.

John: And the fact he's brought it to give it to him is sort of a signature of the deal they're falling into. And again, by the way, the idea that you would protect a witness that might’ve killed a cop. When you do the research? Oh man. This was kind of the Whitey Bulger thing in costic.

Chris: Well I mean, you know, we- it gave us a chance to explore- it was a whole different episode from the point of view of the FBI.

John: Yeah.

Chris: About the compromises that people make when they get confidential, you know-

John: Informants.

Chris: Cooperating witnesses, of looking the other way of other things they're doing. All they are focused on is their case.

John: That mayor is giving them 20 good busts.

Chris: Yeah, yeah.

John: They're not going to follow rumors. Also Mark Sheppard is a- man, this is a great scene. There's two versions of this scene. This is the one we used, the one I like. One where he's angry and superior, and one where he's genuinely hurt that Nate Ford had become this man.

Dean: Yeah.

John: That he's genuinely hurt he has to offer him this deal. And this is the take we used.

Chris: Yeah.

John: Which was an oddly vulnerable moment for that character. He doesn't want to be here, he doesn't want to be giving him this offer. Wow, this is all close up, too, which we almost never do.

Dean: Yeah. But this is- there's a lot of things that we did in this two part season finale that we don't normally do, that were out of the box, but necessary, it was very interesting.

John: Yeah, and this is him telling him this is his last chance. No, and- I always wonder- I gotta- I need to ask Tim when does- cause I know Tim in his head knows when Nate makes the decision what he's gonna do. Is it here or is it after the phone call? Is it after the phone call?

Dean: I think it's after the phone call.

John: Yeah. But there's alot going on.

Dean: But the twist here was cause Nate always is two steps ahead. Until he said, ‘And my team,’ and the guy- and he says, ‘No, just you.’ And there's a look on his face and it's one- it’s again, a rare vulnerable moment for Nate where he didn’t see that one coming.

John: Yeah. And loses his hand and it's like, you know.

Dean: Again, getting to shoot at the actual docks was fantastic.

John: Except we can't shoot past her right shoulder, cause there was a navy ship there that we started to shoot, and the nice gentlemen came over and told us not to put that on camera, please.

Dean: That’s right.

Chris: Oh really?

John: Yeah.

Chris: Wow.

John: Yeah.

Dean: And briny despair may be my favorite Parker line.

John: Briny despair, old clowns.

Chris: Old clown shoes.

John: Briny despair. And again, there's a mini arc here, and the actresses are very good friends, and they're really found it, of their developing physical friendship and, like, just the fact that she can be- Parker’s physical character, and so the fact she’ll walk in pace with Tara is a big deal.

Dean: And now we've brought back Sophie.

John: There you go.

Dean: First time we haven't seen her on a monitor this season.

John: Exactly.

Chris: And here's the payoff from the scene in-

Dean: 207.

Chris: Well part one also, this-

Dean: But we set up really at the-

Chris: We did, you're right.

Dean: At the- The Two Live Crew Job that she was going off to find herself.

John: Yeah.

Chris: Right.

Dean: And then in the next episode, when he tried to bring her back, she says, ‘Do you want me back for the team, or for you?’

Chris: Right, right.

Dean: And now he calls that back and says, ‘Not for the team, for me.’

Chris: Right, right.

Dean: ‘I need you back.’

John: It was also subtle, but we've shown her in conveyance in a lot of the other shots when she's away, so you won't be tipped off by the fact that she's in a conveyance. That she's in transport.

Chris: That she's in a helicopter.

John: She's in transit, she’s in a helicopter. We've shown her in cars, she’s done the cell phone in different locations.

Chris: Yeah, yeah, that’s true.

John: So hopefully you were not like ‘Oh, why are we seeing her in a different context?’

Chris: Right.

John: We've seen her in this context before. Now this was- man, this was a great day, this was just- we cleared the set and Tim just parked his ass on the floor.

Dean: We did three takes, but this is actually his first take. He so nailed it on the first take.

John: Oh, really?

Dean: That the others were really just for safety. But he just came in there, ready to do this part.

John: Yeah. And this is- you know.

Dean: And then the tragedy that she didn't hear any of it.

John: Yeah.

Chris: It's one of the great things about cell phones. Is that- from a dramatic standpoint- I mean they help you bring characters together, but you can also use them to-

Dean: Separate them.

Chris: To separate them.

John: Never in 1940s comedy is or 1940s movie is like, ‘Pennsylvania 927: Oh the killer is-!’ ‘Oh I lost him.’

Chris: ‘The line went dead!’

John: ‘The line went dead!’ ‘No sir, the line’s not dead, I'll reconnect you right away.’ Thank you operator.’

Dean: But his feeling of betrayal at losing the connection.

John: Yeah.

Dean: Really again, is a wonderful red herring where we feel like, ‘Oh my god, he's really gonna sell this team out.’

John: Yeah.

Chris: Yeah.

John: Or at the very least you have no idea what the hell he's gonna do.

Dean: Yeah.

John: You know, he is drunk, he is pissed off. No he-

Chris: And he's been put- he's been backed in a corner.

John: And you know, which-

Dean: But even the way he said here, ‘I have a plan that will fix everyone.’ It’s like, woah.

John: And having the picture that Sam drew. It's interesting that it's essentially a codependent relationship, but it's a functioning one that they have.

Dean: And here, again, is a strange bit of blocking that we had never done before, where Nate has isolated himself on the stairway.

John: Yes.

Chris: Well that helps sell everything, too, doesn't it? Separated from them.

John: Well he's not in front of them, he's behind them. He's separated from them, exactly. Fun bit of blocking, too, actually. It's- we’ll use it again, I'm sure.

Dean: Yeah.

John: Cause that's a nice angle. And yes and then everyone- and then her coming around to pull focus. No, it's for a static shot, it's really interesting. But this is one of the few times we don't tell you the plan.

Dean: Right.

John: You know, it's one of the few times we transition. Usually we-

Chris: We did that in part two of season one, also.

John: Yeah, yeah. It’s- we’re usually an open mystery.

Chris: Yes.

John: At least- and this was one of the few times that you're not- you have no idea- because the rules for the show usually are, you know what's gonna happen and the fun is seeing it go wrong and how they're gonna recover. This one it's like, you’re just gonna have to trust us.

Chris: Who invented the ‘And this is what we're gonna do’ was that Aristophones? The first one.

John: That was Aristophanes.

Chris: ‘Alright everyone, gather around. Grab your togas; let’s go.’

Dean: Now once again we've got the teams separated in different locations, each with different objectives.

Chris: Yeah.

Dean: And that's a little bit of a callback to the pilot episode, when she did the burn gag.

Chris: That's true.

John: Yes, the burn scam. Yeah, wow was this a tough shot.

Dean: That's a little bit of scale, huh guys?

Chris: Wow.

Dean: How about that?

Chris: They let us- now was that digital or do we- let us paint on the ship?

Dean: We digitally put the name on the ship.

Chris: We did, ok.

John: Well, we did paint some of it .

Dean: We did paint some of it. You’ll see a sign later that we actually painted.

John: That was a lot of fun, just trying to figure out like, the whole break into the FBI office. And what's the easiest way?

Dean: Short fight, but one of my favorites.

John: Yeah, just brutal. This is a tough- this was a tough day. Chris did all of these fights in one day, straight through, and ran back and forth between the dialogue scenes.

Dean: This really should've been two days of shooting, that we did in one day.

John: He did like a 20 hour day here.

Dean: This was an insane day.

Chris: Oof.

Dean: But we only had use of this ship for two days, so we had to get it all in.

John: Yeah. He's got the samurai ponytail rocking there, that's how you can tell there's gonna be some fighting. And we have money, and we would like to arrange a meeting. ‘I'm a man with a briefcase full of money, I would like to meet your boss.’ It’s a great, classic trope.

Chris: I like this act, this is my favorite act.

John: I also like- I gave them this running bit where he's counting guys with guns.

Chris: Yeah, I remember that from- you came up with that last season.

John: Season one, and we never found a place for it.

Chris: That's a great shot, too.

John: Yeah, that's a great shot. That and- actually on the boat, that's the way you get between decks. This is actually one of my favorite Parker bits, just talking- coming up with the speech about what it's like to die in an air vent. Because the fact that she's always in air vents, is worth addressing, you know.

Dean: And it shows you the way her mind thinks.

John: Yes, exactly. ‘Scratching on the metal.’ She's kinda turned on, I'm not sure where this is going.

[Laughter]

Dean: Yeah, that’s fair.

Chris: It's the tongue, the darting tongue and she shakes out of it.

John: Let’s go and we’re off.

Dean: She loves the danger.

Chris: We didn't get wet that down folks, that was actual Portland rain.

John: Yes, Beth Riesgraf and Jeri Ryan were on a rooftop, on a skyscraper, with a thunderstorm during most of this day.

Dean: Not dangerous at all.

John: Not dangerous, ignore the lighting, kids. Man, what were we thinking?

Dean: And he pulled out the Scottish accent out of nowhere, which was fantastic.

John: I know, I know. Which was a lot of fun. Because the idea is the mayor has gotten in over his head, and he's dealing with the same sort of businesses that- power drill was the nastiest thing I could think of.

Chris: And that's quite a nasty bit on it, too.

John: Yes, exactly. Well that’s- you know, I mean, if you're gonna mess up somebody's knees, that's the bit you're gonna use yeah. ‘Still counting.’ Oh yeah, then we just reset- it was really tricky because it was so complicated, we had to reset their goal at the beginning of every act.

Dean: Right.

John: What do they need to get? Yeah. And again, it's like, do these guys really meet in broad daylight to look at their goods? Yes! Yes they do!

Chris: Yeah.

John: And usually-

Dean: And here's where we set up the phone does voice dialing, which is crucial to our final act.

John: Thank you 21st century. Because we enjoyed tying up Richard Kind and we’ll leave it at that.

Chris: Yeah, I'm sure the fact that GPS is in every phone is gonna be our best friend and possibly our worst enemy this coming season.

John: No, it's a big deal.

Chris: Yeah.

John: A phone that's on is a phone that can be tracked.

Chris: Yup.

John: Exactly. And yes and Richard, by the way, finding the desperation. ‘They cut her up in a bathtub!’

John: Like the murder wasnt the worst thing in the world, but the fact that somehow it was so undignified? Yeah. Nice scream. And that was, by the way, great little comedy beat, just like, ‘Well to be fair, he did most of the cutting.’

Chris: Yeah.

John: The two of them- we don't usually have Eliot and Nate doing comedy together, but when they do it's a pure relationship, it's a nice rhythm.

Dean: And if you look closely, there in the distance, we've set up Sophie is actually with the buyers.

John: Yes.

Dean: But you wouldn't notice that unless you watched it again.

Chris: Oh, that's great.

John: And now they've broken in, they've come down through the air vent, she did not enjoy the experience in any way shape or form. Oh man, this was a tough day. That's like-

Chris: Hot? Cold? What was the temperature? Do you remember?

John: Brutal, brutal hot. Cold at night. Hot at- you know what? There's never-

Dean: Back and forth.

John: It's never comfy on an oil tanker deck.

Chris: No- I’m trying- yeah I'm trying to imagine-

Dean: And there again, there’s Sophie in the distance.

Chris: There she is, that's great.

John: Sophie in the distance. And this is a real fusebox we tacked into. Sorry.

Dean: In city hall?

John: In city hall.

[Laughter]

John: This was actually a fun thing is, this year we shifted to Hardison not using a signature laptop, but using the minis.

Chris: Yeah.

John: Because our hacker consultant, Kevin Mitteny told us that's what they're using. They're using $300 computers and throwing them away if they're gonna get busted. And running stuff off the thumb drives.

Dean: And this was the- in the actual cargo hold of the oil tanker, so this was very confined space to shoot in. It looked great, but it was very difficult to light and move the camera around and because the top of the stairs- that was the only stairs that was the only way in and out of that room. So all the lights, all the cameras all had to go up and down stairs- there was no other way in or out.

John: And remind you, Gina’s in this scene later. Gina at, like, 17 months pregnant.

[Laughter]

John: Came down those stairs like a fricken trooper, man. We were just- we were more scared than she was. She was like going down them, and we were like, ‘Ahhh, oh god.’

Chris: Just kind of like [unintelligible] step.

John: It’s an oil tanker! And she’s in like fashion boots, and a kicky top, you know.

Chris: Wow.

John: This was- you know what’s weird? This speech doesn’t advance the plot in any way, shape, or form. This speech is just him selling his character to buy time, and yet it’s really interesting.

Dean: Yeah this-

John: Tim’s digging in on the character here. It's his evil speech of evil, you know.

Dean: Right

John: And he never gets to give one.

Chris: Yeah, it's interesting when we can do that. We've done that a few times, the-

John: Glengarry, Glen death.

Chris: Sophie also- also as the Indian pharmaceutical rep gave an evil speech of evil.

John: Yes.

Dean: And this you wrote in the script as the Bourne fade.

John: Yes.

Dean: Which I thought was the perfect description.

John: It's a perfect- it’s a good shorthand. He's there, and then he’s not there.

Chris: It's great.

John: By the way, Chris has just stepped three feet to the right into a tool locker.

[Laughter]

Dean: Right.

John: There's no actual exit there. And- was there a reason for the 360? Just to keep it- just to be interesting? Because I don't think it was-

Chris: And how hard was that within that space?

Dean: Really hard. But we felt that it was a great way to, again, the world has changed. We thought one thing was going on here, but now we've spun it by-

Chris: And that's steadicam.

Dean: That's all steadicam. Gary Camp.

John: It's weird, because it's also, kind of, Nate Ford buying into his persona there. That's one of the times you really see him.

Dean: And Jackie ‘The Joke Man’ Martling.

John: Who came in and did a great job for us!

Dean: You know what's funny, is that I thought he was just gonna be a comic that you had to teach how to act. But you know what? He really came in with the character, he committed to it, he wasn't just trying to be jokey. I mean, he really knocked it out.

John: He totally gives us serious takes-

Chris: He’s totally convincing as the evidence locker guy.

John: Slightly more convincing than Jeri Ryan in insanely hot pants as the FBI agent.

[Laughter]

John: I gotta with Jackie here on the verisimilitude scale. Although we did put Jackie in those pants, that didn't work out for us as much. But no, he's great and the kind of vaguely resentful- you can totally see him doing this character on a-

Dean: And yet he gave us a great exit line here.

John: ‘Oh no, who wants to talk to the evidence guy?’

[Laughter]

John: And that was, by the way, that was him, that was not in the script.

Chris: That’s true.

Dean: And not overselling it either.

John: No, no, it was really nice. You could see him playing that role on a cop show.

Dean: Totally.

John: Absolutely. Nate Ford, international man of mystery and arms dealer.

Chris: Peacoat really working well on the boat.

[Laughter]

John: Yeah, nice. It's very much-

Chris: That was a coat waiting for a set.

John: Yeah. Well it's interesting cause-

Dean: Oh and there's Sophie in the background.

Chris: There’s Sophie!

John: And some people in the first screening kind of caught her, but-

Chris: Now she's there buying guns? Who’s-?

[Laughter]

John: Well she's- she is buying guns, you know.

Chris: For her library?

[Laughter]

Dean: Library needs guns, too.

John: Libraries need guns, too. I like to think- I like to think that she is a Swiss buyer.

Chris: No, I mean, it’s a well armed library.

John: She's a Swiss buyer, she’s-

Dean: And here's a nice little turn.

John: Nice swing around. Shot that day on the boat to reveal that they talked. And then over again. Wow, and we all shot this in a real container.

Dean: In a real containter.

Chris: It was for real? Oh, wow.

Dean: Yeah. Now back on the roof, and this is my favorite Parker bit we've ever done.

Chris: Yeah.

John: Yeah it's tough. There's a lot of good ones, but.

Dean: But.

John: But we never expected Beth to do this.

Chris: This turn here is great.

Dean: This is the first time since the pilot that we brought back how lethal she can actually be.

John: There's a bit in Stork Job, but boom. Oh yeah and she locked in on Jeris throat on that, too.

Chris: Yeah.

John: And Jeri goes over the edge.

Chris: Over the edge.

John: She's wired, but that's Jeri Ryan hanging over the edge. And it was-

Chris: And again, it was raining and windy.

John: Raining. Yeah no, they were both fearless up there.

John: They had a good time up there. They really wound up working well together. And now it's all gone to hell.

Dean: But it's a real callback to that pilot line of, ‘Going to my angry place.’

John: Yeah. This is just- because what's happened is- and just for writing thing, Parker has let her into the family. The only people who are human beings are members of the family. Once Jeri’s betrayed them, she’s moved outside the family, and is an object.

Chris: Well, also to betray the family is-

John: Real ship captain.

Dean: Real ship-

Chris: Oh wow, that's great.

John: You were saying? To betray...

Chris: To betray the family is even worse.

Dean: This is a great hit right here.

Chris: Oh!

Dean: Bam! Man.

John: Yeah- man shooting- that's as wide as that space is, guys.

Dean: Yeah.

John: That was brutal to be down there.

Dean: And these are two guys from the beginning of the previous episode. So again, if you haven't watched them back to back, you might not realize these are the two guys who shot Bonanno.

Chris: Yeah.

John: Yeah, so you know we've linked up, physically, the bad guys.

Dean: Now that one actually- we put that one actually up there.

John: Yeah, that's a real sign. And this is my favorite, this is one of my favorite character reveals ever, and it's because she's doing one of my favorite characters ever. Gina’s doing Annie Croy here.

Chris: Annie Croy.

Dean: Which, again, ties back to the beginning of the season.

John: Yeah it's almost like we think this through. Yeah and- I'm sorry we're all gonna be quiet here because we all love this.

Dean: ‘Bye now.’

John: ‘Bye now.’

[Laughter]

John: That's fucked up, man. I'm sorry, I'm gonna swear on DVD and say that is fucked up.

Dean: That ‘bye now’ is.

Chris: The ‘bye now’ throwaway.

Dean: Oh boy, ruthless. And then my second favorite reveal of a character all year.

Chris: Oh.

John: Yeah. No, that's fantastic. And the way Tim sells this like, ‘What the hell is going on?’ No, even writing that character reveal I wasn't sure it would work, and even when we shot it I'm like, ‘Yeah, this works.’ Gina- you've been so waiting to be- hear her voice.

Dean: She is so talented.

John: We've also really lined it up like there’s no out here. We- usually the audience- a smart audience member will see a backdoor we put. There is no backdoor, she's the backdoor.

Chris: Yeah this was a tricky bit of scripting too, right? I mean we had a ship, and we needed to disable it. I mean, what was- right?

John: It was a lot of wandering around on the ship going, ‘Alright, how does this work exactly?’

Chris: Yeah.

Dean: And even though Tim is out of focus here, you get everything right there.

John: ‘The hell’s going on?’ And she doesn't break character, no.

Dean: Cause she is the ultimate grifter.

John: Yeah, no she does a great- and OK, shoot this guy in the face when I'm off the-’ She's impatient and that's actually kind of a nice thing. And now this.

Dean: Terrific little fight scene shot by Marc Roskin.

John: Yes, at some ungodly hour of the morning. And this is where we pay off the numbers. We've been waiting two years to do this.

Dean: And again, in the actual ship.

John: Yeah, there's a lot of stuff to hurt yourself on.

Dean: And this gun going off was not easy.

John: Yeah.

Chris: Oof.

John: Yeah, we're spilling brass all over the inside of the ship. The- this is a brutal fight sequence, all these stunties did- you know, they're banging off metal all over the place.

Dean: In this kind of space, it is so hard to do this safely, these guys were champs. And Christian- I’m telling you, he's amazing in these things.

John: No double.

Chris: Yeah.

Dean: Refuses to get a double.

John: Refused to get a double. There you go, and down, he counts. By the way, we’re not exhibiting superhuman strength here. This is how you break flexicuffs.

Chris: Oh wow, that's a little hulk moment.

John: Yeah, the only thing keeping- if you- if- that's why they flexicuff you behind your back. The only thing keeping you in flexicuffs in front of you is the belief that you should be in flexicuffs. Little survival tip.

Chris: Oh wow.

John: And this is also a favorite bit, because it was really written as a kind of expositional, but Beth found this really weird rhythm near the end of it.

Dean: Oh boy.

John: This is shot with the XD right?

Dean: Yeah.

John: This is all shot with a Prosumer-level camera.

Dean: She just finds this little bit of evil.

John: ‘Oh, I actually thought you were going to throw me off.’ Yeah, exactly.

Dean: Just this little fake laugh here, just so great. I think it's actually in the two shot, because it has to be in the comedy frame.

John: Yeah the- also the- it's interesting that the- the idea that it's fair enough that they would indeed-

Dean: Here it is.

John: Here it is, coming up. ‘I thought you were actually going to throw me off the roof’. And there she is. The look before hand, the ‘Oh, that's right, this is how humans are supposed to react.’

[Laughter]

John: ‘Eh, I was totally going to throw you off that roof.’

Chris: Yeah, that’s great.

John: But the whole understanding that yes we probably- that's actually a favorite line and Jeri really nailed it, which is ‘You would have forgiven him.’ They're all enablers, they're all in this weird broken family, and you know, it's both their strength and their weakness. Also, again, by the way, director thing, I had a whole explanation of how Hardison disarmed the ship, and we had no time to shoot it and you were like, ‘Giant wrench!’

Chris: Giant wrench!

John: You know what he's done.

Chris: When you see a giant wrench, you see that he messed something up.

John: He is a monkey wrencher. You know! It's a term.

Dean: In the comedy frame. so-

John: And by the way, ‘Took you long enough,’ is a recurring theme for the entire back half of the season.

Dean: Right there.

Chris: Oh that's right.

Dean: And she walks by. ‘Huh?’

[Laughter]

Dean: Love it.

John: And then a beautiful over the shoulder. Oh that's a hero shot right there. No, it really is- it’s interesting because it was very scary, because you know, you didn't know how long Gina would be with us going into the season and everything.

Chris: Oh, this is great.

John: And the entire act depends on Sophie being the best grifter on earth.

Chris: Even him-

Dean: And it's just fun to see them all back together again, because we've been starved from it.

Chris: Him being like places where he doesn't know he was all throughout this episode.

John: Yeah, it's a nice running gag actually. And zero. And by the way, it was Chris who caught the count. Chris came up to me and was like, ‘If that's the last guy I'm gonna-’ I was like, ‘Oh, good catch at 2am, nicely done.’ ‘Took you long enough,’ again.

Dean: And this sets up the handcuff bit at the end.

John: Yeah, that was tricky.

Chris: Right he has the handcuffs.

John: Oh god, yeah. Boy this was really easy to keep track of.

[Laughter]

Dean: And both of them really delivered- you know, this is a very short scene that needs a lot of emotions. Because it wraps up really where they are and where they're going next season, and they just did it with looks and with subtext. And it was just terrific.

John: You poor bastard. And also, by the way, what I love about this is, this is the happy ending to most television shows, this moment right here. We then fuck it up.

Dean: Right, exactly.

John: Yeah. They really care for each other, they are really good friends.

Dean: And they're there for each other.

John: And they're there for each other, and he's a broken bastard. And what's great is he walks out of there without really knowing what the rest of the plan is.

Dean: My favorite Richard Kind line right here, ‘I don't know.’

John: ‘I don't know.’

[Laughter]

Chris: That's very Richard Kind. That’s Mad About You, Spin City Richard Kind right there.

John: Yeah, it really is. And by the way, yeah, only two ways out of this. That seems like a design flaw to me. Because that front window is a 40 foot drop onto the deck of the ship; you can't get out through that front window.

Chris: Oh wow.

John: Yeah if you lock these doors, they ain’t going anywhere. Yeah, and a nice run and gun there, and there's also a little mini scene we blew off there with Paul sort of turning on Richard. Hero moment, hero- the team together.

Dean: By the way, those are some digital effects to remove the pregnant belly.

John: Nice, nicely done.

Chris: Oh really, wow.

Dean: Yes.

Chris: I say it a lot.

John: And nice hug.

Dean: And also just on a small note, we couldn't afford two helicopters. Because we had a helicopter in the scene, and we also needed a helicopter that could shoot the scene. So we used the same helicopter for both and then just digitally erased the camera that was mounted on the end of the helicopter.

Chris: Wait wait, so in other words when you're up there with them you're also shooting- the cameras below it?

Dean: So in other words- yeah, so when you see the helicopter arrive later, there was actually a camera attached to it.

John: A giant camera rig on it, like the size of a VW bug on the bottom of it.

Dean: But we erased it.

Chris: Oh that's amazing.

John: Yeah. Yeah and Sophie’s thought of everything. There's a way out, you hear sirens, it's all coming together.

Dean: And it's fun to see them back together again.

Chris: And again, not that we do this typically. But this was, in a sense, this scene was kind of conceived of first, this scene and him on the deck.

Dean: Right.

John: That's right.

Chris: That we were leading up to.

John: The original version of the script is, it opens with him bleeding out on the deck and you have no idea where he is.

Chris: But I'm saying even in the beginning of the season.

John: Oh yeah.

Chris: This scene was kind of where the show was going. How we were gonna get there was the question.

John: You don’t- everyone has their different ways. Before we shot a frame of season two, I knew it ended with Nate Ford saying, ‘I'm a thief.’

Chris: Right. But even- but even on a- also on the deck of a ship remember- I remember that.

John: Yeah, on the deck of a ship.

Dean: Now I think this ending is one of the bigger endings we’ve ever done, and it's really the most emotional ending I've ever done.

John: Really? I dunno you and I-

Dean: More than I was expecting it to be.

John: You and I disagree, because we all have our favorite stuff, but yeah, it-

Chris: It’s certainly a huge hero moment.

John: It's a huge hero moment, and they're all making great choices. Eliot really wants to just tear through these guys, and Nate’s not gonna let him.

Dean: Yeah.

John: Yeah.

Dean: He's being a good dad for once.

John: Yeah. He’s- and by the way, again, this is not the right choice, he shouldn't have lied to them, he shouldn't have had a plan he didn't tell them, he shouldn’t- he's a control freak. Even in his moment of sacrifice, he's a selfish, alcoholic bastard.

[Laughter]

Dean: That's right.

John: I just wished to make sure nobody makes sure nobody thinks he's being super heroic here. He doesn't really change that much.

Chris: That’s true.

John: No, and this was fun, we had all different kinds of versions of lockers and found out that yeah, that's how they keep a lot of evidence.

Dean: That’s crazy.

John: That was fun though too, also, you only had two rows of those evidence lockers, so you staggred them to shoot through them to make it look-

Dean: To make it seem like they went on forever.

Chris: Yeah where was that? Where-?

John: That was on set that was- remember the small soundstage we had?

Chris: Oh, ok.

Dean: It was actually a reworking of the set at the end of 207 at the airport.

John: Yes. It was the airport, but we just moved it over to the other stage. And I also love the idea again- Nate and Sterling are playing a game that just nobody else gets to be a part of. This is just- this is just nine moves ahead guys.

Dean: Right.

John: There's another version of the show where Katie O'Grady chases Eliot, Parker, and Hardison for an entire season, yeah, but in this version. ‘I can feel you thinking’ he knows him, he knows him that well. He knows the counter move- no, they really dug in here. And by the way, it's 110 degrees on that deck, Tim’s in a peacoat handcuffed to a rail. He's working his ass off here.

Dean: With the turtleneck.

John: With the turtleneck, yeah. Oh and just the sheer rage Katie O'Grady is radiating there.

Chris: Now what time- what day- part of the shooting day was this? Did you make-?

John: This was morning.

Chris: This was, like, first thing?

Dean: Yeah, this was the first shot.

Chris: Is that a challenge to do the most emotional thing first?

Dean: It is, and especially because when we started shooting it we were in cloud cover and then halfway through the scene the sun came out. And so then trying to make that all work was really difficult.

Dean: This, I thought, was surprisingly more emotional than I anticipated when we were there.

John: Well it was weird because when we were there, we couldn't quite get the staging, and they seemed like they were standing really far away. ‘Cause the deck was bigger than we thought.

Dean: Right.

John: And no- well this is the shot because by shooting this way, you get intimate, it feels like they're right on top of them. The other reverse kind of shows you the space.

Chris: I think it also parallels from season one, also-

John: Yeah it does, it does.

Chris: The scene where they’re standing around, really nicely.

Dean: But they're all disappointed in him, which is great. He sacrificing for them, but that's not what they want.

John: No. And he lied to them. And he's- you’re an idiot, I mean, that's really what Eliot’s thinking right there.

Chris: Yeah.

Dean: Yeah.

John: Like, ‘You know what? If you just talk to us.; I really never realized how [unintelligible] this episode is.

Chris: It is.

John: It’s a big hero sacrifice, but it’s- you know he really broke the family. Again.

Chris: Yeah.

Dean: And Gina just nails this scene. I mean, we waited for this kiss for two seasons.

John: Yeah.

Dean: And it comes out, and she's crushed by it. It’s great.

John: Yeah. And again, and- you know this is a big hero moment in his head and she calls him on it. Because she- and this is what's interesting, Sophie Deveraux is a more advanced human being than Nate Ford is at this point. She went away, she took her space-

Chris: Right.

John: You know.

Dean: And she lets him have it.

John: In the same way he let her have it at the end of season one, she's letting him have it at the end of season two. I love that look, by the way, that Eliot- Chris and Mark really set up the fact that they can't stand each other, really well.

Chris: And here, you know, the relationship between these two kicks in also.

John: Yeah.

Chris: Between Nate and Sterling.

John: Yeah, the fact that he held it together- and they don't know, by the way.

Chris: Right.

John: They have no idea when they're leaving.

Dean: That little look with Christian is just great.

John: And there's a camera mount on that helicopter.

Dean: That's been erased.

Chris: That's great.

John: ‘Who the hell is this guy?’ That- this is- you’re right, we wrote the ending first.

Chris: Yeah, I remember, this was-

Dean: He goes, ‘I don’t know.’

John: I remember this was the first thing ever.

Dean: This was the end of the arc. ‘I'm a thief.’

John: ‘And I'm a thief.’ I mean this is a callback to him saying I'm not a thief for two years.

Dean: Right.

John: Wow. Thank god this is the last episode of the show.

Chris: And we’re not listening- and we can't hear it here in the commentary, but Joe Le Duca did- the orchestration for this is absolutely fantastic.

Dean: It's actually the first time he went and got a real orchestra.

John: Yeah.

Dean: Went to Salt Lake City and recorded with a real orchestra, and I mean the scale of this is outstanding.

John: It's giant. 35- I think we had close to half a- 50 FBI agents here. And just cars, helicopters, and this is a big- this is a big hero moment, man. This is a film ending, you know.

Dean: Yeah, it really is.

John: This is it. I love his choice here, it's like, ‘And if I die, I'm totally cool with that.’

Chris: Oh here we go.

John: And he's bleeding out, can you see?

Dean: See the blood on the ground.

John: The blood- he's bleeding out. There's no guarantee Nate Ford will make it.

[Laughter]

Chris: Wow.

John: Which was fun actually shooting this, ‘cause Tim really loved this. And two days before we finished shooting, he turned to me and went, ‘Wait am I dead?’

[Laughter]

Chris: Oh that’s something.

Dean: Stay tuned for season three and you'll find out.

John: I know. No kidding, you'll find out.

Dean: Thank you again for hanging in there with us and listening to this commentary.

John: We had a great time and we really appreciate you guys watching the show.

Chris: And thanks again for watching season two; we can't wait to bring you season three.

John: And thank you, Portland.

Dean: Yes.

John: Big thank you, Portland.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 15 #Season 2 Episode 15 #The Maltese Falcon Job

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miyuskye · 3 years

Text

Today I stumbled on old posts from people reacting to the sk8 finale. I want to make a premise and say that I also felt mixed emotions after it and I was sure that there was something wrong with it. After two months and a half I can say with certainty that the only thing that felt wrong was the lack of episode time, but oh well. Thinking back about sk8, I feel that the writers and the director did the best they could with the time they had.

I think that the main source of confusion stemmed from people misunderstanding the point of the plot. I'm putting myself also among these people because I was so sad that Tadashi forfeited his match vs Langa, but after thinking calmly about that I realized that I just wanted to see Tadashi skate because I am this whipped for him XD and, in reality, even if he had a match with Langa, it would have probably ended the same way -- with Tadashi forfeiting the race midway and letting Langa win (since it's hinted that he's a skating god and Langa beat Adam because he was lucky). This is coherent with the small number of available episodes and Tadashi's arc.

Back to the general public confusion. I'm sure a lot of people were blinded by Renga and totally missed the point the staff wanted to make. It was confirmed in an interview that "sk8 is the story of Adam's search for his Eve", whatever this means (it could be Adam finding his Eve in either Tadashi or Langa, i.e. finding his Eve through the concept that skating is fun). The point is that the focus is on Adam and always has been on Adam. The fandom gave into a collective thinking that Adam was a pedophile and an abuser, but that's clearly not how the staff wanted to portray him. He is obsessed with Langa because he finds in him a worthy and, most importantly, equal partner, he adores Langa and given how loudly he expresses his feelings (i.e. painting a pierced heart over red chrysanthemum to shout out his feelings for Tadashi) his attitude toward him is just the embodiment of that. He isn't interested in Langa because of the power imbalance between them (again, he sees Langa as his equal); he just doesn't want to be alone.

And, yes, the final episodes clearly fit into the narrative of "skating should be fun" because Langa understands (through Reki) that skating with friends is fun and makes Adam remember that (meanwhile he realizes that Tadashi, his friend, was by his side all of this time). Langa, at the beginning, thought that skating was all about the thrill and the adrenaline. He didn't understand that it was fun and amazing to do it with friends/ the people you care about (paralleling to how he didn't realize why he stopped snowboarding when his father died). That's why from ep 7 to 10 he doesn't feel anything. It's because it was all about being with someone you care about, both in skating and snowboarding. He understands that through his relationship with Reki, but my point (and prolly the point a lot of people missed) is that it's general and it doesn't limit itself to Reki and Reki only. I don't want to invalidate Renga, of course not, I like the pairing and the ending makes it clear that Langa's happiness is skating with Reki especially. But the fun experience that comes from skating is a general thing and him going against Adam is just a consequence of that. He wants to make Adam understand that you should have fun while skating, and he wants to have fun with him because he admires him. He was never scared of Adam, and he generally looked pretty chill even when he smashed Cherry with his board. The only thing that mattered to him before his race against Adam was 'why did he start skating?' and 'he looks like he's not having fun' instead of 'i'm going to make this guy pay for his imaginary crimes with my board'. It was like a argument but between friends, the one that gets you in a fight (idk like Rin taking Haru by his collar in Free lmao) because you both want to stand your ground but still care about the other. Also, Utsumi also confirmed that she wanted them to fight with fists in the last ep XD

So, yeah, sk8's ending falls perfectly in the 'skating should be fun' trope. Moving on, let's talk about Kamata. She's, once again, a target for the fandom collective hysteria and she became like this because they projected their hate for Adam into her. Or into Tadashi sometimes, again completely missing the point that the show is about Adam. A lot of people wanted the police to raid S, but that couldn't be realistically attainable because Adam made sure to take off S from the patrol route again and I'm p sure he took additional measures so it wasn't believable for those measures to be shattered in less than a week (when S has been up and running for 7 years). Let's pretend she somehow managed to search Shindo's house. What would she have found? Nothing accusing Adam of Takano's crime. I understand that Takano's crime wasn't very well detailed but I'm thinking that it was something on the line of being bribed to making a certain kind of contract (when he talks about receiving illegal fundings it's the only thing that came to mind). And, on another note, Adam was the one leaking info to the police in the first place XD first, because he wanted to raise to the top of his party (and just standing in Takano's shade isn't his way to roll) and he wanted to have a leverage on the police, so that he could use that leverage to hide his borderline illegal skateboarding races. But they are two different crimes. Kamata wouldn't have found anything useful for the Takano investigation and, even if she managed to find proofs of S (and that's a big if because I'm sure that Adam and Tadashi go out of their way to hide the S screens also from aunties and the household staff), what can she do with those? They're not related to the investigation at hand and can't be used in that specific trial (which is about Takano receiving illegal fundings). A new trial should have been made and Adam wouldn't surely go to prison in one day XD furthermore, it's clear that Kamata belonged to a subplot and that she was a supporting character. She was never meant to be something more than that. I have a long history of elevating supporting character to something they're clearly not so I'm used not to feel 'betrayed' when this doesn't happen, but probably other people don't.

I don't know if I want to talk about Tadaai AGAIN because I feel like we said plenty about them. TL;DR the relationship is not abusive so the point doesn't stand. Tadashi has agency, and chooses to stay by Adam's side because he wants to (and not because he has... Stockholm syndrome... I cringed while writing that XD)

The last point should be the fact that people felt betrayed that Renga wasn't more canon. which I think stemmed from the fact that Utsumi can't decide what to ship XD she had the same problem in Free because she was torn between MakoHaru and RinHaru, but here?? I'm so sure she ships Renga and Tadaai but she definitely likes Eden too. (She wouldn't have had a whole ass theme song for them if she didn't 😊) and so she couldn't decide what route to take and she ended up taking all of them. Bless her, i love a multi shipping queen 🙏

On this note, I saw also some posts about Adam being a homophobic example of queer villain except for the fact that he's not. The authors have made it clear that they love him to no ends. He's not supposed to be Evil and Unredeemable. I don't know why people are so bent on labelling him with things he's not. My roommate told me that he gave off the creepy vibe at the beginning but she confirmed me that after ep 4 it's clear that he's not meant to be dangerous like the other villains he's compared to. I don't personally like people comparing Adam to Hisoka, for example, because I feel that there are very different intentions behind them. Also, I have a feeling people have never watched a media representation of actual grooming (or something that is closely related to this). There's no grooming in sk8. There are fanfics when people describe Adam this way (and while it's interesting to read them, I feel that he's/very/ OOC there), but he's not like this in the original canon.

Thank you for reading this 🙏

#sk8 the infinity #ainosuke shindo #sk8 adam #edenshipping #tadaai #shindo ainosuke #i also find absurd that there are tw and cw for adam like idk #touch some grass

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deepdarkdelights · 3 years

Note

Hello love! I’m the one who wrote to you about the potential inspo for a story. Again you can throw it away or use it, it doesn’t matter haha. I just truly enjoy your writing so I thought that if anybody could make something out of nothing, it would be you. Anyways, I was inspired by the picture above. Oh and I was going to send you this anonymously, but then the picture wouldn’t have been saved (and I’m super shy about this lol, seriously I’m blushing).

Story Begins:

The world holds its secrets, and I hold mine. Deception is never formed by intention, it’s mere collateral damage based off promises and dreams of distant futures.

My dreams were based off my family at first. Based off my brother and mother. Based off the memory of my sister.. But that’s all in the past, and now that I’ve awoken from the imagery of delusional hope. I’m left to deal with the cost of my deception.

—————————————————————

“Mr.Kim, I see you’re yet to finish you’re meal. Oh my! You couldn’t even have a bite?!” The petite young woman shrieking at the untouched meal moved forward to retreat the “warm” mushroom soup that was meant to be in the belly of her boss by now.

With a heavy sigh “Mr.Kim” turns around in his chair. Face still in concentration from whatever is in his hands, he reaches toward his cup of coffee (the only thing for consumption that didn’t occupy too much time).

His secretary stood in front of him speechless at his lack of response. Yes Mr. Kim was young for his profession, his grayish blueish strands contrasting from the dark wool of his turtleneck, his glasses modestly framed to his face, and shiny gold watch that clung to his wrist all precedent to what would be considered a young bachelor -but no, instead this demeanor belonged to a top detective in the field of criminal justice.

From what Jisoo, his secretary knew of him, he was a very bright and professional detective. She was aware of his battle with prostitution rings in South Korea, who’s successful case landed him a job in the New York station of private affairs and criminal justice, where he also succeeded in bringing down one of the most influential law firms for the involvement of illegal transactions and drug smuggling. His work on the field had provided him with a private, yet comfortable life. Not long after his station in the New York City department of justice, he and a couple of team members were asked to work for the The General Directorate for Internal Security in France.

“Jisoo, I know we both were born in Korea, but could you please drop the formalities? I’ve known you for 3 years now “, said the heavy voice in the chair.

At this Jisoo felt a pang if guilt for her earlier charade. Mr.Ki-Na..Namjoon’s voice sounded tired. ‘Of course he is’, she thought to herself. He had spent the last 2 years and a half perusing an unamed organization whos’ motive was unclear, but actions centered around the illegal transaction of money.

“Jisoo? Are you even listening?” The young secretary looks up, “Sorry what was that?”

“I guess I’m not the only one who has had a rough day. I asked you.. am i not a nice person?” At this Jisoo meets the eyes of Namjoon without hesitation.

“What?”

“Have I been mean to you in anyway? Have I thrown your sandwiches out or made fun of those ridiculous pens you bring to work?” He asks with his eyebrows comically lifted.

Jisoo, finally understanding where he is getting at responds, “Not until this point you haven’t”.

“See! We even banter for crying out loud! If that doesn’t scream friendship I don’t know what does!” Namjoon is practically out of breath delivering his sermon on how good of a friend he had been throughout the past three years until it gets to the point where Jisoo has listened to it twice.

“Okay, okay! Enough... friend”, it’s not that she dislikes thinking of Namjoon as a friend, but more of the fact that she doesn’t perfer to associate herself in that aspect with any of her coworkers -much less higher ups. Her lack of attachment also has to do with the fact that back home, in the same position she stands today, she had seen a handful of her beloved coworkers in caskets in no less than 5 weeks of knowing them. However, despite all of this, she can’t deny that Namjoon has acted out the role of a bigger brother during her stay in France, especially in the sense of bringing her Korean food from one particular restaurant on the outskirts of the city. Their relationship has always been comfortable and despite his undeniably handsome features, there was no physical attraction between them... it was nice.

“Okay now say it with enthusiasm, as if you actually like me. Come on FRRI- “ all the sudden the phone rings. Jisoo turns to quickly take her exit, but not before she hears a curse from the man who was a second away from singing the friends theme song.

‘Namjoon i really hope you don’t come close to catching these guys’ she silently prays. She knows the consequences of bringing justice, she’s seen the red splatter that the name decorated itself with.

—————————————————————

“Joon this just turned from a fraud to a murder scene. We are not just talking about big investments, but the murder of two prime ministers and the chief of justice in Germany.”

Namjoon looks at his fellow detective and reaches out for the stack of papers near his desktop. “What did Germany say?”

Yoongi, his literal partner in (fighting) crime answers with a simple, “jack shit”. “They don’t believe it’s connected”.

“Then why do we?” Namjoon at this point is at a dead end yet again. This same secret organization has plagued his office walls, desk, and even bed for almost three years. It’s normal for a case such as this one to take time, but when your teammates and you are specifically placed in an international office for one specific case, it gets a bit frustrating.

“Because.. both the German officer and the Prime Minister in Bordeaux had their tounges taken out.”

“What!?” Had this been any other criminal investigation, this piece of information would not have surprised Namjoon. This however was not just any case, for the duration of his stay in France, and the additional years he was not assigned to this area, this was the first similarity between the crimes. Whoever these people were, made sure to not leave a single message, nor fingerprint, nor act of pride that would give them away. It was almost as if these crimes were committed themselves, and the world was forced to accept it for the time being.

OKAY IT IS GARBAAGGÉÉ, but hey if it works as inspo I’m all for it. Oh by the way, the first part is from jungkook’s perspective. When I initially started I thought about there being a mysterious “sister” aka y/n (didn’t plan out how or why she disappeared yet lol), and because I’m a garden hoe for yandere, I thought about making jungkook slowly progress into a ridonculous yandere. As you can see it’s a bit all over the place. But anyways, I freaking love your writing and throw this away or change it up or use it as it is, it’s all yours.

Ps. Love ya

Hello my lovely!

First off, I am so proud of you for being brave and sending this off of anon! I know how vulnerable that can be, so thank you really for feeling comfortable enough to do so!

Secondly, omfg you have skill! Like I was getting into it and I legit screeched when I realized there wasn't more to read! You did so well sweetie!

Moving on, I really enjoyed this, I don't think you realize just how much skill and potential you have as a writer. I want to read more please!

I do really like this as a concept, although I am coming off of an investigator Joon fic so I think I would need to take a break from that theme lol.

I would like to talk about this more if you're up to it, I think you should pursue this idea because it has great foundations. Let's talk more please you little genius you!

P.S. (ILY TOO 💜💜💜)

#asks #send me asks #inspo #really this was so good #you are a talented writer that I want to see more from #please and thank you #lets talk more!

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winterscaptain · 4 years

Note

directors cut on metanoia! it’s one of my favorites for some reason

you ask and i deliver!! metanoia, with commentary, under the cut with my commentary in bold italics

up next: redamancy!!

warnings: discussion of miscarriage

“Alright, team. This week we’re headed back to Terra Mesa, AZ, for a series of murders at the university.” Penelope stood in front of the screen, outlining the recent crime scene photos as the rest of you looked through the case files. “Some of the residents at the Apache reservation nearby were injured in one of the attacks, and the presumed killer is leaving tokens around the reservation that are currently being treated as threats.”

Finding an excuse to get back to Terra Mesa was hard, but I managed to figure out something that would be big enough for the BAU to make an appearance without involving other federal authorities.

Any excuse to see Blackwolf is a welcome one, and I really wanted to bring him back into our world in AJF. He’s such a fantastic character and frankly it’s a crime we only saw him once.

You all looked to Emily, who nodded once, and the team stood with her. “I’ll start with Derek at the reservation, and visit our old friend John Blackwolf, while the rest of you start building on what they’ve got at the precinct. Wheels up in thirty.”

+++

Moments before the plane landed, your phone rang. You answered it before the rest of the team could see the name. “L/N...Speaking…Really?” Your voice didn’t give much away, but the team was listening in anyway. “Thank you...I’m currently out of town for work. Can I give you a call when I get home?...Great. Thanks...Yeah, I’ll be in touch.”

Looking back, this was before I moved to present tense and phased out “Y/N” and “L/N” conventions. Oh well. I’ll get over it eventually.

That’s what the writing process is for, though, right? It’s always changing and always growing.

You hung up and sat back in your seat. You did your best to school your expression into something pensive and neutral as you stared out the window.

Pregnant. Again. Fuck.

Elation, fear, anxiety, and anticipation all warred within you. You hadn’t breathed a word to Aaron, even when you realized you were late, or suddenly didn’t like the smell of your own body wash. It seemed reasonable to keep it from him until you were absolutely sure.

Reading this back while working on the Reality Check trilogy was a trip - I really wanted to lay a foundation for these emotions warring within Mom in this moment and explain why it was so hard to tell Aaron.

I think I did alright??

A false alarm, or worse, would be a damning disappointment.

+++

You were admittedly distracted as you went through the motions at the crime scene. A fog clouded your head, and you’d zoned out more than once as JJ tried to engage you in conversation. After a while, she decided to leave you alone, only returning when she was finished discussing MO with the officers outside.

JJ crouched beside you as you took a few more photos. “You alright?”

My dumb ass forgot JJ was eight months pregnant here, but it’s fine. She’s athletic enough to crouch and stand up if she’s careful.

It was when I was reading this back that I decided to put all the episode/canon notes into a big spreadsheet to keep track of shit. My brain is a sieve.

“Just fine, Jayje.” Your voice sounded tired even to your own ears.

She didn’t buy it. Her hand rose to your upper arm, squeezing a little. “I’m here if you need anything, okay? You know that.”

You nodded. “I know.”

“I’m serious. Anything.” She leaned in close to you. “And it all stays with me. Nothing goes to Hotch unless you tell me it’s okay.”

This was a line of dialogue looking to include somewhere as well. There’s always that element of discretion because they all work together. Because Hotch was unit chief for so long, there’s always that feeling that mom (or anyone else) could tattle without realizing it.

I originally had this in a really early one of my fics, when I had Reader joining the team in season one and she and Hotch were married already, but it was scrapped and shuffled into pieces that actually made sense. It was a profiler, profiled episode where mom looked at Derek and said “I’m not my husband. You don’t have to hide from me. Anything you tell me stays right here between us unless you want me to talk to him about it.”

No matter what iteration of Reader I’m working with, there’s always a kinship with Derek. Not sure why. Maybe it’s because I feel like he’s slept on within the fandom? Idk I just love him and want him to have friends and adequate support all the time. He and Hotch are such strong folks and it’s a shame the CM writers don’t know how to use the great characters they’ve created.

You bumped her shoulder with yours. “Thanks.”

Thoughts raced around in your head on repeat. There was part of you that wanted to tell Aaron right away, just step out and call him right then. Another part of you couldn’t fathom putting him at risk for that kind of loss again. Not after the first time.

What he didn’t know couldn’t hurt him, and you could handle it on your own, right? It wouldn’t be so bad to wait another few weeks? Just until the end of the first trimester.

+++

Three days into the case with very little progress, the director was under pressure to have this case solved, and solved quickly. Working closely with the Native American community was good PR for the FBI - failing to solve a case as more university students were murdered was decidedly not.

Thus, Aaron was flown in from Quantico Hello, passive voice! Nice to see you! to oversee the investigation, and act as a liaison for additional support, should it become necessary. I had to figure out how to get Section Chief Aaron out here...Once again, your emotions were at war. It was always a delight to have him by your side in the field, but he’d know something was on your mind. If he asked you outright, you couldn’t - wouldn’t - lie to him.

Aaron arrived at the precinct faster than you expected. He held back a smile when he saw you, electing to re-introduce himself to the police chief and make nice before formally stepping in as the FBI authority on-site. You were the only member of the team that didn’t already know everyone - the Terra Mesa cult killings were before your time at the BAU, and indeed even before your time at the FBI.

This was before I had a “real” ajf timeline, so I sprinkled little things in here to help myself when I actually sat down and put it all together.

Emily had you bouncing between the crime scene and the precinct, so you had yet to visit the reservation. The infamous Blackwolf was still a mystery to you, but you’d heard a great deal about him from Aaron.

“Hotch, Y/N, can you take a trip to the reservation to see how Spencer and JJ are getting along? We want to make sure we’re doing everything we can to work collaboratively with Blackwolf, and I’m sure another familiar face would go a long way.”

In the car, Aaron held your hand. It was nice to have him out in the field, a rare occurrence these days. You often missed him during the longer cases, but it was much more fun to talk about your day when he wasn’t beside you for most (if not all) of it.

My mom just said something about this regarding quarantine - she’s like “it’s so boring to tell your dad what I did all day while we were...sitting next to each other working from home.”

I laughed.

Unlike Strauss, he was very-hands off with the units under his jurisdiction, and it worked. It kept him out of the field and on the good side of the unit chiefs. The section was performing beautifully, with few bureaucratic hangups and even fewer infractions. About halfway through the drive, a smile crossed his face.

Any opportunity to emphasize that Aaron is really capable of taking over the bureau is an opportunity I’m going to seize.

“What’s funny?” You asked, laughing a little. There was something warm in your chest that bloomed whenever Aaron smiled, and the joy usually bubbled out of your mouth - often without permission. The rare treat almost made you forget about the rock in your stomach. Almost.

“I want to see something when we get to the reservation.”

“Oh?”

He nodded, a secret little smile still on his lips. “Just trust me and follow my lead.”

You scoffed. “Don’t I always?” You paused, and he raised his eyebrows and opened his mouth. “Wait. Don’t answer that.”

And thus a very early indicator of their dynamic is exposed…

This is the fun thing about writing out of order - there’s something so exciting about going back and reading stuff when you’re building up to a certain point and finding the groundwork you’ve already established. It’s like building the roof of the house before the foundation and then you’ve suddenly got a whole house. It’s cool.

He smiled at you before schooling his expression into his normal resting skepticism and removed his hand from yours as you approached the reservation. You wiped the pout off your face after a moment, falling into the professional modality you’d developed prior to Aaron’s promotion, when you had to keep your hands each other in the field.

Those years were brutal.

Brutal, indeed, and I can WAIT to explore them further!! We’ve got three years where mom and Aaron work together on the same team before he’s promoted and I’m so excited to see how that dynamic works out once the team is made aware of their relationship.

You placed your sunglasses on top of your head as you stepped out of the car and followed Aaron to the reservation school.

“Hotchner.” A handsome, well-built man with an impressive knife on his belt called out to you from across the courtyard, and a small smile broke out across Aaron’s face.

“Blackwolf.”

They exchanged firm handshakes, and Blackwolf’s attention fell to you. You watched as his eyes quickly jumped from your face, to your gun, to your engagement ring and down to your shoes, before returning to your eyes.

I LOVE JOHN BLACKWOLF!!!

“Agent Y/N L/N. Your reputation precedes you,” you said with a smile and an extended hand.

Blackwolf snorted, but took your hand in a firm, warm grasp. “I’m sure it does, if Agent Hotchner here has anything to do with it.” He glanced at the both of you and turned. “Follow me.”

If we don’t start with snark when we meet Blackwolf, what do we have left?

Nothing.

He took you around the reservation, explaining the possible weaknesses in defense should the serial killer jump the highway. You and Aaron trailed a little behind him as you walked, but Blackwolf never looked back as he spoke.

He was explaining the possible positions of an attack from the hill, and the possibility that their assailant could attack from any direction, but “...that shouldn’t be an issue for Agent L/N.” He glanced back at Aaron, the first time he’d done so. “Was it your influence that inspired your fiance to carry two guns, or did she start doing that on her own?”

THIS LINE RIGHT HERE is what started this whole fic for me. I thought of including John in AJF really early on, and I knew right off the bat that Aaron was going to trick him and not tell him that he and Reader are together as a kind of test. This moment always existed as John passing that test with flying colors.

You glanced up at Aaron, eyes wide and alarmed. Aaron only smiled at you and replied, “I taught her. She carries hers -”

“On the offside, I know,” he finished. “It’s smart, if you’re into that sort of thing.”

Aaron huffed a laugh. “Don’t start.”

You sputtered a little, and you lost step with them for a moment before jogging to Aaron’s side. “Hold on, back up. How did you…?” You were speechless, to say the least, and you could tell Aaron was doing everything in his power to keep from laughing out loud.

This scene was so alive in my head, and I’m really pleased with how it turned out. There were like eight or nine different versions of this dialogue I worked on before settling on this one.

Finally, Blackwolf stopped and faced you, gesturing to you as you spoke. “Just like with Agent Hotchner’s left, your right step is slightly heavier, and you favor your right arm for balance when you walk. When you walk beside him, you’re on his right, placing your weapons on the outside of your frames for the best defense. Now, whether or not you do that on purpose I don’t know, but it’s an inherently protective posture.”

You blinked rapidly for a moment, adjusting to the onslaught of information. “How did you know I was engaged to him?” You threw a thumb in Aaron’s direction.

He raised an eyebrow, and a smile ghosted across his face. “Can’t give away all my secrets, now, can I?”

The truth of it? I have no fucking clue how he’d figure that one out so I just left in another “Blackwolf Magic” moment.

A laugh left you. “That’s fair enough.”

He opened his mouth and took a breath as if to speak again but closed it, squinting at you. You swallowed, feeling very exposed all of a sudden. His face transformed then, as if he’d realized something. “You should ask Agent Hotchner about perception. He may have learned a few things since last I saw him.”

This was almost the big reveal, but then I realized John would have more tact than that. And it also wouldn’t be long enough, not to mention deeply unprofessional :)

You looked up at Aaron, but he only rolled his eyes good-naturedly at his friend and kept walking.

+++

The way Aaron was around Blackwolf made your chest hurt a little less. They were like a pair of kid brothers - giving each other a hard time and cracking wise whenever they got the opportunity. Weak insults like “Captain America” and “Fortune Cookie” ran abound when out of earshot from the local officers, but there was a kind of deep respect and hard-won warmth that flowed freely through all their interactions.

“What happened the last time you were out here?” You asked Aaron, on the way back from the university one night.

Aaron looked at the road as he replied with a quirk of his lips. “I learned something.” He reached for your hand, and you held his in both of your own, kissing his knuckles.

I really believe Aaron learned so much out in Terra Mesa in season one. There’s such a distinctive, yet subtle, shift between the Aaron who rolls up completely skeptical and the Aaron who’s willing to accept that “there are many roads that lead to the same place.”

I LIVE FOR MEN WHO TEACH AND CHALLENGE EACH OTHER!!!

+++

It was only when you were alone with Blackwolf, days later, scouting terrain on the border between the university and the reservation, did you ask him. “Were you going to say something earlier, on the first day Hotch was here?”

I love it when Mom calls Aaron “Hotch” at work, even when they’re alone. Makes me all soft.

He nodded, crouched and studied the thicket-lined path. “I was.”

You waited patiently and did your best to see what he saw. It was a hopeless endeavor. All you saw was a well-worn path surrounded by bushes of indistinguishable varieties.

“I was going to ask you when you’re due, but I didn’t want to spoil the surprise.” He looked up at you with a crooked little smile. “Congratulations.”

How on Earth…

Breathless laughter punctuated your next words. “Okay, I knew it was a possibility that Aaron had told you we were together, but I haven’t breathed a word about that to anyone...yet.” You sobered for a minute, thinking of the last time.

He must have seen your face drop, because he stood and placed a hand on your shoulder. There was an understanding in his eyes, gentle and familiar. He treated you like he’d known you all your life, and you were grateful he took you as seriously as he did Aaron. “How many?”

There were so many options for this exchange as well, but I ended up loving the simplest one. There isn’t much that he needs to say. There’s a connection, I believe between Blackwolf and Hotch, and I wanted to extend that link to mom as well.

Your lip quivered and your eyes stung. You swallowed, doing your best to keep it together. “Just the one.”

“I’m sorry for your loss.”

You whispered your thanks and smiled a watery smile at him before wiping your eyes and getting back to business. “Did you see anything of use over here?”

He dropped his hand from your shoulder and followed your eyes down the path. “No, nothing here. We should track back to the reservation and see if our guest left anything new for us to find.”

You turned, but a hand on your forearm stopped you. “You and Aaron are more alike than different in this, I think, so I’ll tell you this.” You met his eyes, and he seemed to almost look through you as he spoke. “Some things are meant to be carried together. Joy and grief are two of those things that are too heavy to bear on your own. Tell him today.” He released your arm and continued ahead as if he’d said nothing at all.

There’s so much respect in accepting someone’s vulnerability, and then moving forward. It’s doesn’t change how that person sees the other. It’s just human. It’s part of them, and it doesn’t need to color every interaction from that point forward.

My best friend calls these “so noted” moments. You just take the note and move on.

After a moment, you followed him.

The man really is like a fortune cookie.

But he’s right.

+++

You returned to the precinct with a lighter step than before, Blackwolf on your heels. Aaron squinted at you as you walked in, and you could tell he knew something had changed.

Emily and Derek flew through the door behind you, and John pulled you back by the elbow to avoid getting run over in their haste.

Contact!! I wanted to establish a little more familiarity between reader and John after their conversation. It was vulnerable and shifted their boundaries just enough for Aaron to notice.

“We have a lead. Get roadblocks up now,” Emily had her phone out and was on the phone with JJ, who was at the university with Spencer. She spit instructions in only the way she could, and Aaron was hot on your heels as Emily tossed you the car keys and you all flooded out of the building.

The takedown was decidedly eventful, and JJ got a black eye for her trouble. Dave took care of her by the ambulance while Emily directed traffic. You got caught up taking a few statements from the neighbors, and it was late evening by the time you were all on your way back to the hotel.

In the car, Aaron was quiet. Your hands were linked over the center console, and he rubbed little circles into your skin.

“What’s going on with you, honey?” He knew better than to look at you while he asked, but his circles never ceased or stuttered or hiccuped on your hand.

You sighed. “Can I tell you when we’re back at the hotel?”

He nodded. “So, something is on your mind?”

“Yeah.”

“Good, bad?” His tone was prompting, but not pushy, and you appreciated it.

You tried to offer him a smile. “Good, I think.”

He squeezed your hand.

Again, any little moment where I can just let the implication speak for itself is one I’m going to grab. They don’t need to be crazy verbose or explain themselves. They just get it.

And they TRUST EACH OTHER!

+++

You dropped down into the middle of the bed, crossing your legs. Aaron sat across from you, mirroring you with his legs crossed and his hands loose on his knees.

Pajamas were on, teeth brushed, and you were both ready for bed.

You heaved a deep breath. “So, John said something to me today that had me thinking.”

Aaron’s mouth quirked up in a smile. “He has that effect on people.”

“So I’ve heard.” You took his hands. “He said to me today that there are some things that are meant to be carried together, and that joy and grief are two of those things.”

I’d like to think the way Reader started this conversation really freaked him out, but he does his best to stay cool and I’m really proud of him.

His eyes were soft and patient as he waited for you to continue, his mouth relaxed.

“My doctor called today -”

“Are you alright?” He couldn't help but interrupt, and a little huff of a laugh left you.

Ah. There it is. He can’t help himself.

Can you blame him?

“Yeah, I’m fine. She just wanted to tell me I’m due in March, is all.” You let the words tumble out as casually as possible, but your shaky breath betrayed you.

Aaron was quiet for a moment, just looking at you. After what felt like forever, he pulled you forward by your hands, and you crawled into the hollow haven of his body. His hand traced over your arm, the other resting over your temple, as if to hide you from the world.

“Are you upset?” You asked, your voice small.

You felt him shake his head. “Not even a little. In fact, quite the opposite.” He kissed your hair. “How are you feeling?”

The lack of big response was really important to me. If he’s gotten really excited, I think mom would have felt undue pressure, and I think he knew that.

It’s another moment where I got to show that Aaron fully understand what she needs at any given point, and that fact itself isn’t necessarily significant enough to be acknowledged on its own. It’s tacit.

Your fingers wrapped around his arm, and he took his hand from your face, curling his arm around your waist. “I’m really happy, but I’m really scared too...I don’t know.”

“That’s okay, sweetheart.”

Tears pricked at your eyes. “I just - I don’t want to fuck it up this time.”

His hands stilled, and he grew quiet, his voice low. “What?”

“I don’t want to lose this one and I was scared to tell you because if I told you and we lost him, you would be sad and I just don’t want you to be sad and I don’t want you to lose anyone else, ever.” You weren’t sure you were coherent, but that just about summed it up.

That’s the wild thing about grief, you know? It puts all these wild stories in your head that it’s your fault, even when people you love tell you otherwise.

I think even after faith, and even after how well Aaron handled the loss - so supportive and affirming the whole time - there’s this doubt that she’s not good enough, that she could have done something differently.

It’s a doubt Aaron recognizes in himself, and it breaks his heart.

“Baby, look at me.”

You leaned back and met his eyes. He held your gaze as he spoke, almost unblinking. “You did not fuck anything up. It was not your fault. These things happen, and yes, they’re sad. Yes, I grieve for the child I didn’t get a chance to meet. Yes, it’s painful. But honey,” there was a desperate edge to his voice and he wiped your tears away with his thumbs, “you’re my partner and I love you. You don’t have to go through anything alone ever again.”

You nodded. “I’m sorry I didn’t tell you right away.”

He pulled you close again, tight to his chest. “It’s okay. It’s okay.”

He completely understands. I mean, he’s the guy that kept his separation from his team for weeks without breathing a word. He knew that they would be there for him, but he just thought he could do it on his own.

These idiots are made for each other, I swear.

(Well, they are….)

You were quiet for a little while. Then -

“Did you say him?” Aaron’s voice was nearly trembling. Because you knew him so well, you knew it was barely-contained euphoria. You knew he was holding back because he didn’t want to scare you, didn’t want to get too excited in case something went wrong, but his efforts were futile. You saw right through them, and hoped his joy would last and that the worst was behind you.

That’s love and trust, babey!

You turned your head, pressing your nose into his neck. “Just a feeling. I dunno.”

He sighed, his arms winding impossibly further around you. “We’ll just have to see, won’t we?”

You nodded into him.

“When’s your ten-week?”

“Two weeks, on Wednesday.”

His breath washed through your hair as he pressed his cheek to the crown of your head. “Can I come with you?”

He’s learned so much and I cry about it regularly. I just watched that episode where Haley calls him because she’s at Jack’s doctors appointment and he’s not there and he just screws out up and had a big weep about it.

You nodded.

When you woke up in the morning, You were still curled in his arms, on top of the covers, with the lights on. Aaron’s face was pressed into your hair and his body was flush against yours from shoulder to calf.

One of his (truly massive) hands rested over the waistband of your pajama bottoms.

It’s going to be okay.

That concludes this installment! I LOVED going back through this one with a fine-toothed comb. Definitely one of my favorites in this series. I’m so glad so many of you love it like I do!!

#forgottenword #tali answers stuff #tali provides commentary #tali talks cm #a joyful future

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another-sonic-blog · 4 years

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The Fanfictioner

Prologue

Synopsis: Amy Rose secretly writes fanfiction out of the not so famous 'Sonic Boom' show in which she and her friends are the main actors. Everything was fine, filming the show and then writing. However, everything changed when the famous actor, Shadow the Hedgehog, showed up to participate in the show. Just like Amy, Shadow hides a secret. He loves to read fanfiction but will never admit that out loud. Shadow one day stumbles upon Amy's fanfiction and without knowing, they develop a friendly bond over comments, likes and messages of support. On work, Shadow and Amy have a normal co-worker relationship that will never develop more than that. They fight in real life but are best-friends online. Will they ever find out each other's identities? And if they do, will things change between them?

When the romantic movie ended, Amy just couldn't stop thinking about the great acting in 'The Forest of Dreams.' Her friends and she had decided to get together for a well deserve movie night after battling Eggman for the whole week. With the hopes that he wouldn't burst into Hedgehog Village as he usually does. "It's a shame that we ended up seeing that indie movie ..." Sonic said as he opened the door to exit the movie theater. "I wanted to see Chao in Space!" "Yeah, too bad they ran out of tickets. Critics say that it is one of the best movies in the last decade." Tails looked around his group of friends, making sure that no one was missing. Nonetheless, he noticed that his pink friend was awfully quiet, looking at the ground. "Everything alright Amy?" As if his words didn't reach her ears, Amy kept looking down at the ground, silent. This time, Sonic noticed Amy's unusual mannerism and decided to investigate. "Amy?" Sonic's voice was all that she needed to get back to reality. The rosette hedgehog snapped her head and met emerald eyes. "Yes?" "You are very quiet ... That's not like you." Sonic said. Team Sonic had already begun their journey to go back home. It was late at night but the village's light poles gave them enough illumination to know their path. Walking through the village, they encountered a few Mobians still out, doing their thing and helping the atmosphere to be more vivid. "Sorry, I was just thinking about the movie ... The acting was amazing, wasn't it?" The pink one had a soft smile placed on her face, showing her excitement. "The actors were so young too, they look around our age ... 17 and they are so talented already." "I have to admit that batgirl was very beautiful." Knuckles let out an enamored sigh. "Yes and her acting was admirable," Amy said. "But the one that got my interest was that black hedgehog ... He indeed will become a great actor soon." Without the pink hedgehog knowing, Sonic rolled his eyes in annoyance. There was only one hedgehog she could fangirl about and that was him. "He was alright, I could do better," Sonic said. "I mean he was in an indie movie that's no big deal. I am sure we could all do it ... Right Sticks?" Sonic looked over at his badger friend who was way too quiet. Such an unusual thing of her. "Don't look at me, I fell asleep during the whole movie," Sticks said. "But if we ever become actors, I would love to be in Chao in Space." The team had come to a sudden stop, they had reached the end of the village. This is where they would part ways to their own perspective homes. "Good luck with that, I read that the casting process to get actors for Chao in Space is extremely difficult," Tails said as he faced his friends. "Two years ago, the directors conducted castings all over the world .. Out of thousands of participants only three main actors made it." "Ha, see Ames! There's no way that black hedgehog with average acting skills would be in a movie like Chao in Space." The blue hedgehog looked at the pink one and for the first time in a long time, he saw that Amy was utterly offended. For someone that she doesn't even know nonetheless. "I see great potential in him!" Amy said, her voice raises a little. "I bet he will become a great actor! I dare to say he will be in Chao In Space 2!"

. . . When the pink one got home, she immediately showered, got into her pajamas, and laid on her comfortable bed with her laptop on her lap. She began to browse more things on the 'The Forest of Dreams.' She found interesting things. For example, the name of the beautiful bat protagonist was Rouge the Bat. And then the black hedgehog's name appeared ... Shadow the Hedgehog. He was the co-protagonist and in all honesty, it was been a while since Amy felt such admiration for someone. Could you blame her? Shadow was an excellent actor. His profound words as he confessed his undying love to the protagonist were just ... So pure. It wasn't only the dialogue but the way he delivered the message. More than anything, Amy felt her heart skip a beat at each word he said. As if his confession was meant for her.

His words were strong and too real ... way too real. As if Shadow the Hedgehog was actually in love with Rouge the Bat.

And so this began.

Amy of course knew of the many wonders of the internet. One of them were fandoms and within fandoms were content creators.

The pink one wasn't unaware that many content creators wrote fanfiction. After all, Team Sonic had its own base of fans. They were the heroes of the village and Mobius nonetheless, always defending it against Eggman and other villains. So, it was natural that stories about them would be written. She read many of them especially the SonAmy ones, her guilty pleasure.

Although she had never written a fanfiction, Amy felt different about this one. In 'The Forest of Dreams' the ending was a cliffhanger. Amy desired more than anything than to provide a good conclusive ending. She had written before but only for school projects like essays and creative writing but never like this ... Never for a fandom.

Was it strange? That she wanted to see more of the exceptional romantic development between Rouge and Shadow?

Amy didn't care, it was just for fun. What was the harm in that?

And so ... Amy began to write.

"Shadow, what are you doing?"

On the other side of the island, a tiny wooden house in the middle of the forest emitted enough light to be seen in the night.

"Reading a story."

The black hedgehog responded, not leaving his eyesight away from his phone.

"Since when do you read?"

"Someone has to do it in this house."

The black hedgehog who was comfortably sitting on his sofa was greeted suddenly by the warmness of a beautiful blue-eyed bat.

"Our movie was released a few weeks ago ... Do you think we did well?" Rouge asked as she tried to get a peek of Shadow's phone but she was slow and Shadow was fast to close the internet tab.

"We won't know until next week when our producer calls us ... Hopefully, we get enough money to repair Omega." Shadow said as he looked over to the dining table where robot parts laid scatter across the wooden table. Shadow frowned as he saw Omega's head, immobile and without life. He was still inside there but Omega won't be the way he was until reparations were made.

"We really messed up on the last mission ... Didn't we?"

Rouge's voice was soft and she showed such concern that it made the black hedgehog's heart shrink a bit. Shadow let out a heavy sigh, he hated to see the white bat like that and although he would often disagree, there was no option but to affirm her assumption this time.

"We did ... That's why we are never going to steal again ... Never." Shadow said as he felt Rouge leaning her head on his shoulder and he didn't mind the act at all.

"... I wanted to steal a Chaos Emerald."

The black hedgehog let out a small smirk as he placed his arm around Rouge's shoulders. "I promise that one day I'll give you a Chaos Emerald and I'll give Omega one of those lie detectors he wants."

"Hopefully, this acting thing comes out alright ... I mean all of those years acting to survive and steal must pay off in this movie we made."

Small memories crossed the white bat's mind. She remembers all of those times as a child that she and Shadow acted on street plays to get a few coins to eat something. More recent memories of them acting like business people, politicians, and regular folks also popped in her mind. All of that just so their stealing missions could go smoothly and unnoticed.

How Rouge, Shadow, and Omega met was a very interesting story, one that will be told at another time.

"Let's hope for the best."

A few minutes passed in which Shadow and Rouge shared it in complete silence. The dark hedgehog looked over his shoulder in which he found Rouge completely asleep. With his phone still on his hand, he opened once again the previous internet tab he had before.

It was just a matter of time before his curiosity overtook him. As far as the internet said, 'The Forest of Dreams' was an excellent film even if it was an independent movie. Even art and small stories were already created in honor of the film.

Eventually, he found himself on a page called fanxfiction.com. An internet page where writers could write whatever they wanted online and others could interact with these authors by liking, sharing, and commenting on their work.

Shadow scrolled through the webpage and a story caught his interest. The synopsis was captivating , the tale was about an alternative ending to the movie's original ending.

The Forest of Dreams: A Love Story.

By A Rose Without Thorns

And so ... Shadow began to read.

A/N: I want to thank @redsunlight for the amazing artwork! Please go check out her artwork!

The first chapter is coming out in a couple of minutes I just need to upload it in here. I recommend following me on Wattpad since Tumblr can be complicated at times and won’t let me upload.

Also there’s a new chapter coming out for ‘By Accident’ really soon!

Next: https://another-sonic-blog.tumblr.com/post/621393925974999040/the-fanfictioner-ch1

Wattpad: https://www.wattpad.com/user/PeachesAndReams

#shadamy fanfiction #shadow the hedgehog #shadow and amy #sonic boom #sonic the hedgehog #sonic fanfic #sonic fanfiction #Amy Rose #amyrose #shadamy #shadowxamy #shadamyau #shadow x amy #shadamy boom #romance #fanfiction #shadamy au #amy rose #shadamy comic

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aion-rsa · 3 years

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Unforgotten: the Clues in the Titles and Why Every Detail Matters

https://ift.tt/3b8wdBf

Warning: contains spoilers for Unforgotten series 1-3

“You’d be surprised,” says Peter Anderson, creative director of the studio behind the title sequences for hit ITV crime drama Unforgotten. “You can show something really on-the-nose, and people won’t get it until they’ve been told. We fret and worry about giving too much away but the clue is only triggered when you know the context.”

Each 40-second title sequence for Unforgotten is a curated collection of purpose-filmed scenes designed to go where the drama can’t – namely, inside the characters’ heads. Every series starts with the discovery of a long-buried body, then introduces viewers to a guest cast of characters whose connections to each other, and to the historical murder, gradually unfold. It takes six episodes to solve the mystery, but right from the start, the abstracted and symbolic images created for the title sequence already hold all the answers.

“Some of the images are big clues,” explains Anderson. “With the current series titles, there were some things that were taken out and then went back in, that are incredibly poignant, really incredibly amazing clues, I can only be ambiguous about it at this stage.”

Our new titles, full of little teasers and clues. Made by the brilliant @PAndersonStudio #OneDayMore #Unforgotten 4 https://t.co/rE5XAo5lx6

— Chris Lang (@ChrisLangWriter) February 21, 2021

How the series four title sequence relates to the new story, airing on Mondays at 9pm, is currently anybody’s guess. The meaning behind its images – a smashed car window, an allotment, a discarded fountain pen, to pick just three – will only become apparent after the finale. “You should have a relationship with the title sequence that grows as the drama grows,” says Anderson. Look back the title sequences for previous Unforgotten series and that’s exactly so – they’re transformed by hindsight.

Take the series two montage, which opens with a shot of a pub table and three empty drinking glasses. Atmospherically, it’s a lonely image, but hardly ominous. In the finale, the scene is revealed to be a turning point in the investigation as the place where the murder suspects gather and the truth is finally told. It’s a terrible truth about three lives irreparably damaged by childhood sexual abuse, and provides the answer to another title sequence mystery. The dreadful significance of a previously unexplained shot of an empty yellow tent is made clear in a heart-rending monologue from Mark Bonnar, who plays lawyer Colin. The abuse Colin suffered as a child began aged nine, on a camping trip. Each week, viewers have been shown the tent from his memory – a formative moment that haunts the titles in the same way it haunts the character.

“That’s one of those occasions where the titles are showing you something awful and poignant, a game-changer,” says Anderson. “In a way, the tent is the scene that forms the whole story of the drama, but it’s in the titles. It’s not a flashback, it’s been allowed to be in this other place, this place that says to you, ‘Before you watch this drama every week, think about some of these things’.”

Not every image is necessarily a clue. “Some of them are setting the scene, some of them are memories that form the characters, some of them are about placing the different time zones that you’re in.” Unforgotten is a time-travelling series, says Anderson. “The titles are showing us that we will be in memory.”

All four series titles share the visual metaphor of unsettled dust motes floating from scene to scene. “It’s talking about how, the moment Cassie and Sunny (the show’s detective leads played by Nicola Walker and Sanjeev Bhaskar) come knocking on your door with news or an accusation, it unearths a whole series of events, whether you’re innocent or guilty. The dust, your past, is unsettled. That thread follows through all the title sequences, it’s about the everyday becoming disrupted and changed.”

Clues and reminiscences are purposely blended in the Unforgotten titles. Some memories may be more important than others, but nothing is frivolous, says Anderson. In the series two sequence, even a glimpsed pan of peas boiling on a stove feeds into the working class roots of a now wealthy, knighted business tsar. “Even the peas have a job to do because they’re taking you back inside the head of a character.”

“One that pops to mind is a car crash scene from the series one titles. It’s the moment that one of our characters was in the crash that put him in his wheelchair. That’s not something shown in the drama, but that’s a moment that formed that character, a lot of his traits come out of this awful thing that happened.”

Unforgotten series 3 writer: “we live in uncompassionate times”

By Louisa Mellor

Books

Why Unforgotten fans should read Reservoir 13

By Louisa Mellor

Title scenes are a different type of narrative that hark back to the silent movie era, Anderson explains. “It’s about subtly extending the storytelling, extending the characters through their memories, taking you to a place that formed them that the drama doesn’t have the time to show. It might be referred to in dialogue, but we can actually make it in the titles.”

They can make it, but not wanting to give the game away, they also have to obscure it. “Something that seems abstract often is laced with meaning,” he says, citing a tiny snippet in the series three credits where we see a close-up of a deer’s eye. The deer turns out to be a plot point, as the animal hit by an underage driver whose father suspects him of having killed the victim. In the same sequence, a poetic scene shows grass and flowing water. “To the viewer that will just be abstract and atmospheric, but actually, that’s the moment when the river broke its banks and carried away the body.”

The Unforgotten titles incorporate the settings used in the show, but – until this series because of last year’s Covid-19 restrictions on set visits – were always purpose-filmed by Anderson’s studio and not compiled from existing footage. They’d pop in to a set while the production was on lunch and get the coverage they needed, borrowing key props and costumes. That’s how a necktie worn by a character revealed to have a sadomasochistic fetish is glimpsed binding the hands of a young woman (a Peter Anderson Studios intern, being useful on her first day) in the series two sequence. A suitcase used to contain and dispose of a murder victim is spotted sitting innocently at the bottom of a wardrobe. “We have access to all the costumes, the props, the poignant clues from the drama itself. The detail that’s in there comes direct from the drama.”

Each Unforgotten title sequence begins life as around 100 short scenes written by Anderson after reading all six of that series’ scripts. It’s unusual to be granted such breadth of access in TV drama, which is part of what makes the title work on Unforgotten so special. The entire Mainstreet Pictures team, from creator and writer Chris Lang to the producers and directors, collaborate on whittling down the list of scenes until they say everything they need to, without giving anything away.

This kind of devotion from a production company to a TV title sequence is rare in the UK, says Anderson. He’s experienced it precious few times in his career: with Neil Gaiman creating the stunning 2D animated titles for Good Omens, with Steven Moffat and the producers of BBC One’s Sherlock and Doctor Who – for which his studio made the series seven titles starring Matt Smith – and here, on Unforgotten.

Lang tells Den of Geek that he’s never worked on a series with such a symbiosis between the titles and the drama. “We meet at late script stage, when the characters are fully formed, and then we decide together which echoes, teases and clues we want to put in to the opening sequence.” Lang describes the titles for each series as a mini drama of their own, easing the audience into the world of the show. In dramatic and storytelling terms, he says, the titles do a lot of heavy lifting.

“Chris will say ‘Can we add this scene? Because this is why that character was formed’, explains Anderson. “I can’t extend a character’s story in the way that the writer can. He knows implicitly how he’s formed his characters, he knows their past. He knows which memories are important”. It’s about understanding the detail of every bit of storytelling, “that even a half-second snippet really matters.”

One character-forming scene that’s only a half-second snippet in the series three titles shows a young child being hugged by a woman. The costume, backdrop and lighting suggest the 1960s, putting us in the realm of memory. In that half-second, Anderson confirms, we’re inside the mind of Dr Tim Finch, an extremely damaged man played by Alex Jennings. “It’s just meant to be a flicker of time showing an overbearing mother that formed part of his character. If you look at the detail of that shot, what’s important is the fact that he’s being smothered and the smothering therefore has a psychological effect on him growing up.”

Another key memory scene – a child’s-eye perspective of a woman peeling potatoes at a sink, which relates to the moment a character told her mother she was being abused by her father – was coincidentally filmed in the same location: Anderson’s kitchen at home. “I have a 1950s house with a genuine 50s kitchen with a genuine 80s wall with a genuine 70s floor, so as a location, it’s utterly fantastic for time travel,” he laughs, angling his laptop camera down to show a tiled floor fans will recognise from several of the Unforgotten title sequences.

In the US, Anderson explains, TV titles are highly paid for, but in Britain it remains a lo-fi business. When his studio created the fast-paced title sequence for high-profile Sky One drama Lucky Man, for instance, instead of closing the roads and wiring up a street with cables to film the fast-paced street scenes, they did it using an actor from Starlight Express roller skating through London wearing a GoPro.

Series two’s yellow tent scene was filmed using vintage camping equipment pitched in the park next to Anderson’s home. “That was me and a cinematographer on the side of a hill. We set it up meticulously with an oil lamp from the period. We wanted the light to be perfect, so for just that one scene we probably spent between three and four hours shooting.”

A television drama often won’t have the time to be so indulgent with its photography, he says. For the series three titles, his studio shot Bristol Bridge in the early hours of the morning, starting off in the dark and the snow, waiting until the light was just so. Production arranged the official permissions, the hotel, everything so that Anderson’s team could film just two scenes of no more than a few seconds each. It’s proof, he says, of how much everybody involved cares and how every detail matters – something well worth remembering the next time your finger hovers over that ‘Skip Intro’ button.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Unforgotten series 4 continues on Mondays at 9pm on ITV1.

The post Unforgotten: the Clues in the Titles and Why Every Detail Matters appeared first on Den of Geek.

from Den of Geek https://ift.tt/303o3nf

#aion-rsa #Den of Geek

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