Desperately trying to read the script off the screen….
But man, those names in the left column sure look like “Ekko” and “Jinx” to me….
44 notes
·
View notes
Think about every rich guy who's ever lived in a secluded place. General Zaroff in The Most Dangerous Game, Poe Dameron in Ex Machina, Dracula. You know, killing trespassers is their whole deal.
40 notes
·
View notes
Can we talk about the directorial decision to open Scotty’s interrogation scene with a zoom out of his hoodie?
There is a long-standing racist stereotype regarding Black men in hoodies, most memorably in the 2012 murder of Trayvon Martin, wherein they are perceived as trying to hide themselves out of guilt because they have done something wrong, resulting in unwarranted suspicion and the assumption that they are threatening or dangerous.
That we are being introduced to present-day, post-island Scotty with a shot like this, as he sits under the expressionless watch of Gretchen & Dean, tells us that Scotty believes, & perhaps fears, they are stereotyping him in this way.
When we see his face, it is halfway in shadow, as is Gretchen’s. Neither of them is going to be honest with the other in the conversation that follows. Positioning Scotty on the left-hand side of the frame, juxtaposed with Gretchen on the right-hand side, is a nice way of conveying that Scotty views her as an opponent, much like two fighters on opposite sides of a ring before a match. He is sizing her up.
What is deceptive here is the way Scotty is slouching & appears small in the frame versus Gretchen’s confident, straight posture & domination of the frame. Perhaps this is deliberate on Scotty’s part to make her think he is weak, small, or afraid. (We learn when the dialogue starts... he is not.)
In the next shot, Scotty is in the center of the frame & so is Dean even though we know they are not sitting directly across from each other. This shows us that Scotty sees Dean as, hopefully, an ally or an equal. Unfortunately, Dean’s gaze is nowhere near as steely as Gretchen’s; it falters quickly, then he looks to Gretchen to break the stalemate. Dean holds no power at this table. Scotty knows it; he looks back to Gretchen.
We are back to opposing characters on opposing sides of the frame: Scotty on the left, Gretchen on the right. Scotty small, Gretchen large. Both of their faces are still halfway in shadow. She seems to be taunting him into speaking with some creepy eyebrow wiggle.
In the last gif, he throws the eyebrow wiggle back at her like, “FFS, what do you want from me, lady?” (It’s pretty hot, tbh.) They are no longer on opposite sides of the frame from each other; Scotty has sized her up & found she is not intimidating. He is ready to start the fight. He no longer looks weak, small, or afraid, & he’s no longer taking up a tiny corner of the shot. In fact, he is taking up more of the shot that Gretchen is at this point. He has played chicken with her, metaphorically, & decided she ain’t shit.
Gretchen’s expression in the last gif is one of resignation. She backs off. Her eyes drop. The awkward silence & scrutinizing stares did not break him.
As a viewer, examining this, you can’t help but wonder now, in retrospect, about that hoodie shot. Maybe it did not speak to Scotty’s fear that he was being racially stereotyped by the adults. Maybe it was representative of the fact that they were, indeed, making a judgment about him, believing he was guilty of something & would crack under a little pressure.
And they, like that bullshit, racist stereotype, were wrong.
This all happens in a matter of seconds.
You don’t even have time to process the nuance as you watch the show. All of these tiny decisions made by the director, done in tiny detail by the actors, are what deliver mood & tone & steer viewers into drawing conclusions without dialogue explicitly telling them how to feel & what to think. It’s what makes you, at home, feel like you’re experiencing something as it unfolds. It’s what makes damn good television.
102 notes
·
View notes