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adarkrainbow · 3 months

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Pinocchio's education (3/4)

And here is the last part of my rough translation of Apostolidès’ article “Pinocchio, a male education”. If you want to check the original in French, it is available for free here. [EDIT: Turns out Tumblr doesn't like having posts too long, so I'll need to cut the third post into two...]

Created in 1940, Walt Disney’s version presents an Americanized Pinocchio. The animated movie changed so much Collodi’s character that it was very coldly received in Italy upon its release. A first change of note: In Disney’s movie, the story is narrated by the Talking Cricket who is now called Jiminy Cricket. In Collodi’s novel, the cricket as just one voice among many – here, he is promoted to the rank of “official conscience” of Pinocchio. In the novel, Collodi has many different external voices speak to the puppet, all transmitting to him through proverbs what were usually advices born of folk-wisdom. This true concerto, played usually by animals (the talking cricket, but also the slug, the pigeon, the parrot and many more), was a double of the parental voice. As such, the entirety of nature gathered around Pinocchio to tell him which path he should follow. With Walt Disney, Jiminy becomes an internalized conscience, he is the superego of the puppet, solemnly ordained by the Blue Fairy (“So she dubbed me Sir Jiminy Cricket, Lord High Keeper of the Knowledge of Right and Wrong”). From the first to the second version, we went from a Pinocchio shaped by exterior elements to another with a more modern sensibility, determined by internal elements. This new Pinocchio does not show any rebellion against the adult world. On the contrary, he impulsively tries to take advantage of it, not able to recognizing in this adult world what is good for him, and what is bad for him. A part of his misfortunes also comes from the fact that his conscience doesn’t know what to choose either – here again, we find ourselves in an era when values were changing.

Since the original context of Collodi’s creation disappears with Walt Disney’s version, the story is now inscribed in a new one: the American values of the early 1940s. Geppetto is not a poor wood-sculptor constantly hungry anymore: he is a lonely craftsman, living comfortably, and who builds toys for children. When the fairy grants him his wish to see his puppet come to life, she just says: “Good Geppetto, you gave so much happiness to others, you deserve to be rewarded”. The fairy appears in the beginning of the movie, while Collodi only introduced her in the fifteenth chapter. When the audience first discovers Pinocchio, Geppetto is almost done with his work, by painting a smile on the wooden face. As such, the puppet does not spring to life on its own: he needs both parents. The “bastard” aspect of the original character, that we highlighted before, is replaced by a conformism making Pinocchio a little boy immediately fit for social order. His father gave him his shape, his outside appearance; his mother gave him his soul and his life. It is also her mother who sets him free from the strings that restrained him: the mechanical education of the father is followed by the mother’s psychological and moral education. Walt Disney’s fairy lacks any ambivalence: she has the same physical and moral traits as the dreamy princesses of the other animated fairytales of the American master, Cinderella and Snow-White. Towards Geppetto, she behaves like a wife – a younger wife, a distant wife, a benevolent wife. She even speaks to him as if he was the child. Meanwhile, towards the puppet, she behaves as a protective mother and as a very moral figure. As soon as Pinocchio asks her what he must do to become a real boy, she lists to him the moral stereotypes of the America of the time: “Prove yourself brave, truthful and unselfish. Be a good son to Geppetto - make him proud of you ! Learn to tell right from wrong. Then, some day, you will wake up and find yourself a real boy”.

Just like the parental figures, the values offered to Pinocchio lack any ambiguity. The good characters are easily distinguishable from the villains – the villains are always dressed in shabby, poor clothes. For example, the Fox and the Cat that are seemingly ignored by a society of abundance. The same thing is true for the rascals of Pleasure Island: a close-up on their shoes show that they come from the lower class. Their transformation into donkeys is a metaphor to reveal that the only thing they truly bring was workforce.

The tragedy of Pinocchio, a little boy from middle-class, is that due to frequenting them he is threatened with ending up as a lower-class. The movie takes a great care to show who is good and who is evil: all the ambiguous characters, such as Fire-Eater the puppeteer, lose any form of complexity. Within Collodi’s work, he borrowed traits from Bluebeards: when Pinocchio arrives within the theater, the puppets of the commedia dell’ arte see him as a savior. Following his example, the puppets set themselves free from their traditional roles, and made Pinocchio triumph. After thinking about turning him into fire-wood, Fire-Eater forgives Pinocchio and sends him home with five gold coins. With Walt Disney’s, the puppeteer, renamed Stromboli, becomes a former partner of the Fox and the Cat, now reinvested in the business of theater. The animal duo sells him Pinocchio to become the star of his show. The problem introduced now is the one of the child sent too soon within the economic system: Pinocchio embodies the myth of the child-star, freshly created by Hollywood a few decades earlier. Pinocchio is not a child anymore, and yet cannot be recognized as an adult. If on one side he does a work that brings money, on the other he is tricked and exploited by Stromboli.

Within Walt Disney’s work, the conflict of values is located between the world of traditional crafts, and the world of the big industry: the world of Geppetto against the world of the little fat man that turns children into donkey (aka, into the lower class). Pinocchio would not be thinking about leaving his father’s house if the outside world didn’t offer him endless temptations. They are not solely tied to traditional forms of entertainment, such as the puppet theater – they are also focused on the Pleasure Island, where children stay for a few weeks before being metamorphosed into donkeys. On this island, carousels and games can be found, but also plenty of adult activities usually forbidden to children: smoking, drinking, playing billiard… Sexuality is not evoked in the movie, except in a minor way by “inferior” beings, such as Figaro the cat or Cleo the fish. On Pleasure Island, the children can also destroy the things that represent the traditional Western values: the traditions of literature and art. Torn books can be found in the streets, an entire palace is offered to be destroyed. When Candlewick and Pinocchio enter in said palace, a child destroys with an axe a piano ; and if Candlewick lights up his cigar by scratching his match against the Joconde, his friend destroys with a stone and great pleasure a cathedral’s stained glass.

In 1940, these scenes were clear allusions to the book-burnings that had happened the previous years within Nazi Germany. But, they could also be read as an allegory of the consumerist society that was building itself within the United-States. Geppetto, a product of the traditional Protestant mentality, belongs on a social level to a world that is economically threatened: he doesn’t have any appeal that could keep his son with him. Pinocchio will rather turn towards the outside world, and let the outside images filled the emptiness of his private life.

From a psychological point of view, Pinocchio is torn between the traditional modern (determined and shaped from the inside), and a new model. A new model that encourages imitation, an identity that forms itself with a group of kindred. Pinocchio is as much eager to look like the “others” around him as he is separated from his original nature of puppet. Another reason behind Pinocchio’s quest for a male model in the outside world is Geppetto’s age, and his behavior. The brave man is at the same time an old man, an elder, and a buddy-dad, a friend-father, with which the child plays and dances, but who is no model. And he is not a true husband for the fairy, who rather floats around the male world as a distant by protective mom. Pinocchio can only solve his contradictions by becoming a hero – that is to say by escaping into the extraordinary. By saving Geppetto’s life, by sacrificing himself for him, he takes the place of the absent father. The fairy-mother recognizes this substitution, and as such turns the child into a man, by making him a “real boy”. This promotion happens in the movie in a very symptomatic way, by the acquiring of a new finger on each hand: the puppet of Geppetto only had four fingers on each hand, but when he is transformed, the first thing Pinocchio sees when he wakes up is his human hand.

#pinocchio's education #pinocchio #disney's pinocchio #analysis #article #translation

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autumnbrambleagain · 11 months

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honestly miss me with any magic system that doesn't describe the qualia of what it is to use magic in that system

oh what in DnD you "study and write spells in a book" and "read the spell each morning" okay what the fuck does the spell look like. what does it feel like to cast a spell. why does it require intelligence why does it require research.

it's why in UWi academic magic (academagic) works on every spell being a literary essay on reality as fiction making some kind of point of why something should be possible and its conclusion statement is how you cast the spell. you recite the argument to the World and the World goes "hmmm, well argued, that broken teacup is now repaired again"

magic in ancient mythology was never really a metaphor for academic 6-year colleges they didn't have that until fairly recently as a concept and learning and education was always a separate track from magic which was always

emotive, innate,

in the Oldenenen Tymes a wizard didn't study 30 pages of nonsense and then they could control your mind, a person Was Magic and could control your mind

but also magic was religious rituals you performed to get a god's attention,

but also magic was folk rituals and superstitions, if you put a horseshoe on your door a fairy can't get in; if you had a stick in the right shape you could find water

modern post-tolkein wizards are so fucking BORING. oh yes i went to magic academy and learned magic so now i can do three spells; fireball, laser beam, and flying. when i level up i can arbitrarily learn bigger fireball which i can't learn right now for no explained reason.

it's why in uwi like why can't y ou cast high level spells early on? because you're starting off with high school level literary essays and then you're trying to jump into fucking Derrida. you can't do it my man you are just starting to cast spells like "id/ego/superego symbolism in lord of the flies" and you aren't jumping from that to "the author as unconscious writing machine vs. art as a lens for the viewer" in one day you gotta know what you're talking about

uwi's academagic is basically a parody of post-tolkein magic systems but also a parody of academia but also a functional system of how you can do magic through literary essays it's fun it's fine. like most of the things we do it's a deconstruction a parody a satire a commentary on things

the fucking bizarre DnD dissonance of magic being the rare thing owned only by the few who have the brain for it but also you stumble over magic potions and scrolls and weapons constantly

but gandalf mcellminster over here's level 3 and he can cast 3 magic missiles a day what the fuck does that even mean. why is all your magic ways to kill people fuck off

there's two settings we keep working on internally and one is a failed succession metasetting where the "magic" is "we are all self-aware self-narrating concepts being poorly moderated by the world consciousness; time and verisimilitude is broken and effect follows cause only by convincing argument. everything we do is magic. i forgot to give myself the need to eat and until someone presents me with sufficient symbolism to counter it i don't need food at all."

and the other is a more grounded fucked up glamtasy world where magic is "which kind of magic there's like 800 different ways you can do weird shit which weird shit can you do and how are you doing it"

the worldbuilding anyway should only be a part worldbuilding only exists best for when it's to tell stories with but the worldbuilding itself can be part of the story when it's a commentary a reference to a greater literary body and itself part of that commentary

which is also how magic works in uwi

i have a fucking masters degree and this is all it's good for anyway if you read this make sure to comment bob's gang below and like rate and subscribe and we'll see you next time on animal crossing channel

#autumn rambles #worldbuilding

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heloflor · 10 months

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Unpopular shipping headcanons/opinions for Sam and Max:

- I don’t particularly dislike Sybil and Abe being together, though it’s mostly because I’m not very into their relationship. Hell I keep forgetting Abe exists whenever I make a list of all characters (ngl he’s pretty forgettable 😅). Also the “dysfunctional straight couple” trope is a thing I’m very used to, mostly because like 90% of movies/TV shows/etc use it, so while I agree that Sybil deserves better, their relationship doesn’t bother me.

- Likewise, I don’t ship Sybil with Superball because I don’t find them to be very compatible. Idk, I feel like Sybil wants a man who gives her time and attention, like she kinda has that idea of what a perfect relationship is like. While Superball on the other hand is a lot more career-focused and to-the-point when talking. Plus, I’m not sure if Sybil can get used to the way Superball expresses his emotions differently.

- While I wouldn’t say that I ship it, if I had to pair Superball with anybody, it would be with Mama Bosco. Not only because they’re both career-focused but also because we know Mama Bosco wants a man who treats her as a person and doesn’t drool all around her, and I feel like Superball can give her that. Again, idk. I just think they have the potential for good chemistry ¯\_(ツ)_/¯

And if you want shipping arguments coming from the game, there’s not a lot to go by but it’s worth noting that in 204, when asking Superball if he saw Mama Bosco, he comments that he admired her spirit, and in 305 Mama Bosco is the only one going after Superball when he runs away crying. It’s also implied that they have some offscreen interactions in 301.

- I don’t ship Sameth and Maximus due to the fact that, if they were to be a couple while still having their wives and kids, then their children would technically be step-siblings. And if you go down the family line a bit, it technically makes Sam and Max cousins, which is a bit of a yikes for me.

Btw no hate whatsoever to the people who ship them, I 100% understand why you would, and the line “you could do with some female company. I hate to say it but people are beginning to talk” definitely says a lot about those two and their relationship. It’s just that I overthink the implications of their relationship and it makes me uncomfortable.

That being said, I do like the idea of them being both queer. And given that they lived in the late 1800s and early 1900s, I could definitely see a scenario of both of them being into guys and maybe even finding each other attractive, but they never realized those feelings, they just assumed every guy found other guys attractive.

- The Narrator/Superego has feelings for Sam. After all, he’s Max.

- Max doesn’t just have a crush on Hugh Bliss, he was genuinely in love with the guy (I swear Telltale Max is the reason why I see both him and Sam as poly) and would’ve asked Sam for his permission to ask Hugh out had the whole moon situation happened a few months later.

And if you’re asking, Hugh Bliss doesn’t give a shit about Max, though he possibly realized Max liked him and used it to his advantage (that scene when he separates Max’s bliss has him drop Max’s defense by sweet-talking to him).

(Also Max is genuinely in love with Flint Paper as well, just like Sam is, but that’s not an unpopular headcanon)

- Sam is omnisexual because why not. I mean given the world they live in, “being in love with people regardless of gender while still acknowledging said gender” fits Sam pretty well.

- Despite not being straight, Sam is uncomfortable with dating anything other than women. This is due to him growing up in the 70s on top of seeing Max getting heavily bullied for not showing attraction to women. And given how insecure Sam can be, especially Telltale Sam, I could see him prefer to date women, though there are some exceptions like Max obviously but also his admiration for Flint, which he doesn’t hide. And given the dialogue about finding Peppers sexy, I could definitely see him be comfortable talking about his attraction for men with Max specifically.

- While I tend to call Max gay due to being more focused on the Telltale trilogy, I’d argue that any other media outside of Telltale show Max as aromantic homosexual. And because I feel like explaining :

In the comics, Max’s romantic life is never brought up. We just know that he doesn’t like girls and have played in stag movies, which are aimed at a male audience. Btw him being a sex worker has nothing to do with his sexuality, as dating life and sex experience have nothing to do with one’s sexuality. That being said him working for a male audience means that he either wanted men to look at him, or he wanted men to focus less on him (by looking at the women instead).

In “Hit the Road”, Max shows some disgust about Bruno’s relationship with Trixie and there’s yet again the “doesn’t like girls” joke. But at the same time there’s a few romantic jokes between him and Sam, showing that Max gravitates towards men.

In “This Time it’s Virtual”, the only hint of Max’s sexuality is the corndog joke, hinting a sexual liking for men. Max is also yet again shown at the entrance of the tunnel of love to find romance gross.

In the Cartoon, Max is straight-up afraid of romance, but yet again he’s hinted to be in a relationship with Sam who he’s implied to have sex with (bonus mention for Cartoon Max being the most explicitly a masochist), plus shows some interest for Mack Salmond and his sidekick.

So overall, Max barely ever talks about romance and when he does it’s in a negative light. At the same time, he’s shown to have a consistent interest for men, but most of it is through sex jokes (his interest for Mack Salmond could also be seen as more sexual than romantic, at least I think ?). It’s also worth pointing out that aro people can date, hence his relationship with Sam.

Tbh “Sam and Max are in a queerplatonic relationship” is probably the truest canon statement regarding their relationship given how it’s presented as an incredibly strong friendship that “transcends the notions of marriage and dating”.

So yeah, while Telltale Max is very explicitly gay and is even shown to enjoy the concept of romance to some degree (he gets involved in Sybil’s relationship and by the end of S2 cares more about it than Sam does), the other versions of his character seem to be more likely on the aro spectrum, especially the Cartoon version.

#Sam and Max #SamandMax #Freelance Husbands #Flor talks #long post #found this in my 'posts I won't actually post' doc and I have no idea what it was doing here #and since it's pride month; might as well post it now #Sam and Max spoilers #The Devil's Playhouse spoilers #(just in case)

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ego-osbourne · 1 year

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EGO OSBOURNE Reference Sheet

//click for better quality//

[Image Text Rewritten //because tumblr crunch can make this font hard to read//]

EGO OSBOURNE

The SUPEREGO | The flaming mind - morality. The EGO is not present.

The ID | The metal body - instinct. The EGO is not present.

Homespace | A place to rest, reflect on past lives, and find new worlds. Infinite and immortal.

New Worlds | Usually represented as existing media - places of adventure and soul-searching. EGO OSBOURNE inserts themself into these worlds to fulfill a purpose, find a purpose, or simply to create a new life. Whatever becomes of them in this world is up to the discretion of the EGO and their decisions.

The EGO | Alter egos, new lives, personas - the whole. Both the SUPEREGO and the ID are present.

Alter Egos have no memory of Homespace or their pasts. They usually manifest as adult figures and age from then-on. The ID adapts to form into existing materials in the new world, and the SUPEREGO adapts to understand known languages and customs of the new world. Alter Egos are not immortal, and upon death they will return to Homespace as the SUPEREGO and ID.

EXAMPLES: Ego/Moro (Skyrim), O.S./Oz (Bloodborne)

An infinite number of EGOs can/have existed, though only one at a time.

[Extra Info //this might get existential//]

Oh man, where to start. This idea has festered and been reformed many a-time. You can probably find an old reference sheet or two and some old designs of my persona that allude to this idea but didn’t quite hit the mark. I think this is pretty damn close to where I want to be at with my persona :)

The concept draws inspiration from Freud’s idea of the mind being split into three parts: the ID, superego, and ego. The ID acts with primitive, instinctual desires, the superego acts with morality and empathy, and the ego acts as a mediator to balance both out. The ID and superego can’t operate successfully—or at all—without the ego. EGO OSBOURNE is the ID and the SUPEREGO, but not the EGO. They exist in Homespace, a place outside all worlds and reality and acts as nothing but a gateway to other, realer worlds (represented as media like video games, books, social media, etc.). EGO OSBOURNE is essentially non-existent and non-functional until they put themself out into a new world, creating an Alter Ego (AKA: EGO) in the process. This Alter Ego combines all three aspects of the mind (ID, SUPEREGO, and EGO) and creates a whole person. A character. A persona.

The main EGO that I’ve shown on my blog as been my Dovahkiin, aptly named Ego (I’ll reveal why they take the same name in their ref sheet). Another is Oz, from Bloodborne, though I haven’t developed them as much here because I’ve been on a bit of Skyrim craze right now. Video games are the easiest form of media that Alter Egos can be created out of because many of them deal with creating your own character and building their story. However, not all of them work like TES or FromSoftware games, because not all video games give you a blank slate to work with when playing. Games like Portal, Horizon, etc. already have you play as characters existing in-universe with their own pasts and histories (Chel and Aloy, respectively). Even something like Outer Wilds would be difficult to achieve because, even though the playable character is nameless and vague, they still have their own implied history with their world. Therefore, I’m not going to replace an existing character with an EGO. Instead, an Alter Ego can be placed in those universes as an extra side character, like an NPC to the main character. This is also how an EGO would be treated in most other things like books, movies, etc., where a side-character has to be made instead of replacing the main character/narrator.

As for appearing online, on social media, with real people behind the screens, I’m essentially just a separate Ego Osbourne. The EGO projections are their own characters with their own lore tying back to the SUPEREGO and ID, while I am more of a narrative stand-in for the SUPEREGO and ID. I’m just the messenger who takes on the same name. I have all the information. I’m just Ego Osbourne as EGO OSBOURNE.

Sort of confusing, I realize, but hey that’s what I’ve got. This is sort of just a creative, backwards way to show how I (the person) have interacted with some great media and how I think it’s shaped me as a storywriter, creator, and just a person in general. I know a lot of people will think its dorky to think that a video game has changed a person significantly, but hey, I’m not gonna deny what’s happened to me. Hell, this is probably just a cheeky way for me to hide the fact that I’m self-inserting into my favorite medias (that’s sort of been the joke but I promise I’m actually trying to tell a narrative and make the characters unique and interesting and not just me ; this is more experimental than anything but I’m enjoying the ride so far, hope you are too) (not that there’s anything inherently wrong with self-inserts, I just have a different goal in mind).

Anywho, hope this cleared some things up and gave you some info to play around with. For those of you who were wondering why (Skyrim) Ego’s skeleton is made of metal, it’s because they’re an Alter Ego, a projection of EGO OSBOURNE who has the same core (skeleton) and mind, but without the memories. Ego’s skeleton is made of dwarven metal simply because that’s the closest thing that the ID’s would be made of. I’ll reiterate this and try to make it more clear in their ref once that gets finished.

PLEASE ask questions if you have them, 1. I’d love to answer them and 2. I want to clear up any confusion if I can. Okay that’s it wooooooooooooooo

#my art #ego osbourne #superego #id #homespace #ego #oz #persona #alter egos

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stinkysdiner · 1 year

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What’s your personal headcanons involving the narrator? Specifically when Max was growing up, or when he and Max (I mean Sam) became friends. How do you think that affected the narrators land for max at the time

i’ll be honest i hadn’t really thought much on it! i can’t imagine the narrator himself having much pull over max until much later in life; you can’t expect a 5-year-old to be into the finer things that you’d expect a middle-aged adult to be into. sure he’d have to be there as kid max grew up and had to moralize things in his adolescent brain but like. there’s a difference between the thoughts/morality/etc of a kid and an adult. so really imo he didn’t have much of a voice, or i suppose “power” until several years down the line. i’d say he really started to become a persistent, demanding voice when max was entering early adulthood, so around the 18-24 age group. old enough to understand, to be self-aware, and still cognizant enough to bury it deep down. also personally i think it’s funny if his superego had always just been some old british dude. like the narrator didn’t grow up with him or anything he’s just Always Been Like That. talking in ways that are far beyond the comprehension of a child and young max is like yeah ok! *eats dirt*

and for reference sam and max are in their forties during the devil’s playhouse, at least for my canon.

#it’s interesting to think about! thanks for asking :D #asks #anon

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moony-ghoul · 1 year

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i don’t think ppl truely understand how absolutely incredible it is to have an unreliable narrator in literature

ESPECIALLY if the narrator is a teenager

there is so much potential to dig into a narrators id, ego and superego and discover how much they are impacted by their age and maturity and how that then goes onto impact a story and an audiences view on different characters based on our limited perspective and knowledge of them that are brought on by said narrator

weird little words get my brain rolling man

#idk man i’m in my literature brain mood #also read back over an essay i wrote looking at call me by your name more specifically elio as a character and narrator #ignore this i’m just rambling

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thec0untry · 9 months

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I am enjoying the virgins and it is submerging me in psychosexual self-analysis. The framing device employed by Erens--an adolescent narrator subjectively cataloguing (with questionable reliability) his fantasies of the sex lives of his high school acquaintances through the lens of his own sexual neuroses--effectively captures the parasexual mode to which i am confined, no longer attributable to the cerebral nervousness and repression of my adolescence, but instead are owed to the holistic sexual obliteration i've put myself through across my life. It is the nature of the narrator's parasexuality where things really get going...his fantasies are not masturbatory or rooted in infatuation with aviva's sex life, nor do they homoerotically center seung. He describes both of their physical characteristics with equal sensuality. Still, he does not avoid pornographizing them. The narrator and i differ regarding the origins of this proclivity, and this is what i find very revealing about the novel. Its origins in the narrator aren't very important, or at least they are not on my mind right now. My own sexual experiences exist on a spectrum of pathetic failure and trauma (the former coming from relations with women, the latter with men--i am a straight man and yet the vast majority of my sexual encounters have been with men (i am detrans, i generally abstain from mentioning this both because i have moved on from this period in my life but also because it's so loaded and is something best handled very personally); the encounters (really only two in my life) with women have been beset by mutual repression typically inflicted by trauma (these occurred before adulthood, before i transitioned/detransitioned, so they do not factor very seriously into my current sexual makeup; after intensive work my sexuality has lost much of its pathology--my transition was an attempt to escape my sexual trauma)). Much of my sexual upbringing has been through the experiences of other people, my friends' (often girls) descriptions of their sexual experiences without much connection or identification derived from my own life--obviously I was very alienated from my body before i de/transitioned. Perhaps i will be stuck in this half-adolescent half-hyper mature sexual mode until I actually have sex with someone. I have no interest in doing this for its own ends, and what a horrible way to treat someone. The narrator is deeply, deeply alienated from his own sexual encounters, and though there is no dearth of them he is often confused by how anticlimactic they are. But perhaps that says something truthful about the nature of sexuality and fantasy in general...a sort of vanilla piano teacher argument that only horror and disappointment can come from superegoic sex, sex that is intended to fulfill a fantasy...i am thinking!

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hitchell-mope · 6 months

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(Third film. After “ruby blue”. Back at the palace. Ben’s pacing back and forth in the war room, running his hands over his hair again and again, still trying to think of where Mal could be)

Ben: have the snowlem combed the island?

Elsa: twice.

Ben: could she have landed in Jamestown?

Cogsworth: I don’t think so sir.

Ben: have you been able to contact Uma in Arendelle?

Elsa: I’ve called my sister. From what she said. Uma’s in the palace chapel having a personal crisis. Again.

Ben: goddammit. Could somebody please find out just where the FUCK Evie is? Her sister is missing. She needs to give a shit right now. Her own feelings can go to hell for all I care and oh.

(He notices Mrs Potts silently kneeling next to Chip’s corpse. He approaches and kneels down next to her)

Ben (gently): Mrs Potts. I think it would best, for you, and....and for Chip, if I took you both up to the medical bay.

Mrs Potts (her voice barely audible through her grief): it’s okay sir. My boy and I are fine right here.

Ben (sympathetically): okay. If you’re sure.

(He conjures up a blanket and puts it around her shoulders then goes back to the table. And doubles over in pain)

Ben: Oh CHRIST THAT SMARTS!!!!

Belle (rushing over to him): Ben. Ben what’s wrong? Are you okay? What happened?

Ben: I’m fine. I’m just. Whew. Gotta go to the uh. Gotta go to the library for a minute.

Belle: I’ll go with you.

Ben: ummmm. No. Somehow. I don’t think this is gonna be a good time for a mother son field trip. Personal business. You know how it is.

Belle (not understanding at all whatsoever): yeah. Of course. Go ahead.

Elsa: hey Ben.

Ben: yeah?

Elsa: do whatever it takes to find her okay?

Ben: you know me. Nobody’s going to be safe from me until I find Mal.

(He teleports into the throne room)

Ben: alright. I got your message. It was painful. But I got it. Tell me where Mal please.

Ben’s Ego: hey honey.

Ben (smiling widely and going to hug her): hey. Um. Which one are you again? Fun. Realistic. Or boring?

Ego: realistic. The ego. If I was Superego I’d be wearing one of Evie’s creations. If I was Id I’d be a full sized talking dragon

Ben:....yeah that checks out.

Mal’s Id: you know it does.

Ben (blushing slightly): heheh. Hey.

Id: good news. I’ve found Mal.

Ben (immensely relieved): oh thank god.

Id: bad news. She’s at the bottom of the Mariana’d Trench.

Ego: oh shit.

Ben: so how do I get to he then?

Id: uh. You can’t. It’s like a worse version of what happened last year combined with the mind trap after she exorcised chad. She has to figure it out herself. Sorry hon.

Ben: why is it. That whenever Mal’s being dragged through horseshit I can never do anything to help her?!?!

Ego: Sod’s Law I’m afraid. Bad things happen. Story moves along. Eventually you’re wearing your crown skewwhiff as everyone’s bowing down to you and Mal at the closing of the final number.

Ben: heh?

Ego: oh. Sorry. Forgot to mention.

Id (jovially): we’re the narrators!

Ego: but unfortunately so is Maleficent.

Id: which is why your father showed up a few hours ago. She tried to manipulate the story into her favour.

Ben: oh. Okay.

Id: however. There is something you can do.

Ben: tell me.

Ego: watch over her.

(She conjures a huge mirror in front of Ben’s throne)

Ben: how? How do I do it?

Ego: just watch

(The image in the mirror turns into Mal falling slowly through darkness that gradually changes into a trippy tie dye background. When she wakes up she’s in a beautiful moonlit garden and once again wearing her Aurora inspired wedding dress. She sits up looking a little frazzled and takes note of what she’s wearing)

Mal: oh no. Not again. At least my subconscious knows what I li-

(She notices some movement out of the corner of her eye)

Voices around her: save yourself. Save yourself

Mal: oh this is getting creepy.

Ben: run sweetheart. Run.

(Mal starts running through the nearest corridor. Followed swiftly by similar shapes shadows)

Ben: what happens now? What do we do now? Tell me please. Because I’m completely fucking lost here.

Ego: hope that she realises what’s happening. And pray that she knows what to do.

(Mal’s run into a majestic looking ballroom. This is when “who do you think you are” happens. After the song. Ben flies to the ground and hugs Mal)

Mal: how did you get here?

Ben: mirrors.

Mal: ah.

Id: you two. Piss off.

(Blue and Green disappear)

Mal: what were those two in aid of exactly?

Id: showmanship?

Mal: I hate you sometimes.

Id (cloyingly): awwww. No you don’t.

(Mal sighs grumpily and turns to Ego)

Mal: I’m guessing she’s part of you then huh?

Ben: yup

Mal: is she your version of him or the doormat?

Ben: doormat. If she were my Id she’d be your dragon form.

Mal: hm. Makes sense.

Ben: they’re also the narrators of this story.

Mal: of course.

Ben: and unfortunately, so is Maleficent.

Mal: ah fuck.

Ego: sorry.

Mal: eh don’t worry. Not your fault. So. Since you’re the narrators. I’m guessing you know where I am

Id: it took us a while but yes. You’re unconscious.

Mal: I gathered that much yeah. But where am I?

Ego: at the bottom of the Mariana’s Trench.

Mal: what?

Ego: About 20 miles north of the islands barrier.

Mal: holy shit

(She grips Ben’s hand for support)

Ben: how does she get out-

Mal: how did this happen?

Id: you got cocky.

Mal: huh?

Id: Harry Hook is dead. Uma’s grief washed over the entire kingdom.

Mal: I got very, very happy.

Id: and therefore reckless. So yeah. Ya got cocky.

Mal: how do I get out of here this time?

Id and Ego: I got nothing.

Ben: well that’s helpful(.)

Id: like everything, my dear, the choice must be yours.

Ben: so so helpful(.)

Ego: I’m sorry we can’t be of more assistance. But your story has a fixed pace. And this is part of it. Ben and I have to leave now. But your Id will stay and guide you for as long as possible. Ben. Let’s go.

Ben: no. No way in hell.

Ego: Ben. Please. We need to go

Ben: no! I’m not leaving Mal again.

Mal: Ben. Ben look at me. Look at me Ben. I’ll be fine. Look at me. I’ll be fine.

Ben: we don’t know that.

Id: I’ll take care of her hon.

Ben (threateningly): you had better.

Id: ooooh. I like it when you get fiery. But in all seriousness. I will take care of her.

Ben: in all seriousness if you don’t. Then you’ll have me to answer to.

Id: honey. If I fail. Then you won’t have to worry about killing me. Because Mal will be dead.

Ego: Ben. Please. We need to go now.

Mal: I’ll be fine. It’s okay.

Ben: could you two give us a few minutes please.

Ego: I’ll be back in the throne room.

Id: I’ll be watching from an archway.

(After they’ve gone)

Ben: I’m not leaving you. I can’t. Not again

Mal: I don’t want you to go either. But sometimes we have to do things we don’t want to and-

Ben: it’s not just that.

Mal: hm?

Ben: it’s one thing to team up and help you. But I. I just. I don’t fully trust him to save you on his own.

Mal: are you. Are you jealous of my subconscious?

Ben (hesitantly): mmmmaybe....

(Mal bursts into giggles and glomps Ben)

Mal: awwww. I don’t think you’ve ever been jealous before.

Ben: so you’re not. You’re not mad?

Mal: why would I be mad? You’re so worried about me that you’re jealous of my own subconscious. It’s actually incredibly flattering.

Ben: well that’s kinda confusing.

Mal: wanna talk it out?

Ben: please?

(This is when “lay all your love on me” happens. After the song. Ego all but drags Ben out of the mirror and back into the throne room. All before he can properly say goodbye to Mal)

Ben (indignantly): what was that for?

Ego: I’m sorry. I’m so sorry. But you can’t be in there right now. She has to do this herself.

Ben: that’s not fair

Ego: I know. I know it’s not fair. Nothing about any of this is fair. But this is how the story has to go.

(Back in side Mal’s subconscious)

Id: come along Mal.

Mal: to where?

Id: I have no idea....

Mal: oh that’s helpful(.)

Id: hallways!

Mal: what?

Id: hallways. Corridors. Such and such and the like.

Mal: you’re making even less sense than before.

Id: come with me.

(He grabs her hand and drags her out of the ballroom and into a corridor lined with handsome oaken doors bedecked in gold filigree with silver doorknobs)

Mal: this all looks way posher than last time.

Id: budget expansion.

Mal: if you say so.

Id: which door first.

Mal: I ain’t going in any of those.

Id: fine. I’ll choose. Let’s see

(He zaps Mal into the first door on her right. She finds herself at a table as the only member in the audience of a cabaret show)

Id: ladies and gentlemen. Nightmares and daydreams. Both corporeal and non-corporeal alike. May I present to you. The Heroes. Of Auradon.

(The stage floodlights boom into life and centre on Lonnie, Jane and Maddy dressed in 1910’s era cabaret girl costumes)

Mal: oh you’ve got to be fucking kidding me

(This is when “more, more, more” happens. After the song. Stubbornly pushes Id’s shoulder)

Mal: what the HELL was that for?

Id: pppprrrrbbbb. Fun?

Mal: you said you’d help me get out of here.

Id: yah. But like always. You need to confront yourself first.

Mal: I hate it when that happens.

Id: yeah. So do I. Come with me.

Mal (stepping back a little bit): why?

Id: Mally. Chillax. I would never hurt you.

Mal: yeah. I know. But you’re kind of nuts at the best of times. And that’s when I’m NOT drowning. So just please. Let me deal with this. Okay?

Id: you and I both know that I can’t do that. Now. Let’s see what’s behind Door Number 98!

(The corridor zooms forward and Mal’s at a door with a large “98” emblazoned on it)

Mal: is this another traumatic cabaret what-have-you?

Id (truthfully): nope. Just a little pick me up for ya.

(Mal tentatively opens the door. Inside she finds her friends in a large checkerboard ballroom, dressed in black and white, dancing the quadrille)

Mal: nononono. No. Not again

Id: Mal. Listen to me. You have this massive support network but you trying to do stuff on your own. Now, granted, you actually do have to do this one particular thing on your own. But when you get out of here. You’re going to need everyone.

Mal: I. I. I have to get out of here.

(She heads to the door but Id stops her. This is when “firework” happens. After the song. Mal and Id leave the room)

Mal: that was. Actually not so bad.

Id: I have my way darl. So. Did you get the hidden message?

Mal: what?

Id: you know what to do. Go and do it.

Mal: I. I don’t know what you mean WOAH!!!!

(The corridor give a violent lurch to the left and a deluge of water comes barreling towards them. Mal’s only saved from being washed away by Id pulling her to safety against the wall)

Mal: what the fuck was that?

Id (panicking): nononononoNO!!!! This wasn’t supposed to happen. I thought she had more time. I thought she had more time.

Mal (starting to worry): more time? More time for what?

Id (gulping heavily): I’m so sorry sweetheart. Go right down to the end. You’ll find a giant library. Go through every book you can get your hands on. Get. The hell. Out of here. Please.

Mal: you’re not coming with me?

Id: I I can’t. I can’t. Not right now. I’m sorry. I’m so so sorry.

(He disappears leaving Mal alone in the sodden corridor. Back in the throne room. Id stumbles out of the mirror)

Ben: what’s happening? What was that water thing that just happened? Is Mal okay?

Id: Ben. Please. Not right now.

Ego: what do we need to do?

Id: you. You you need to get to Arendelle. Get Uma. She might be able to help

Ego: on it.

(She disappears. Leaving Id panicking and Ben even more confused than before)

Ben: what’s. Happening?

Id: she’s drowning. She’s drowning as we speak. And there’s nothing I can do. There’s nothing any of us MMPH!

(Bens walked to Id and kissed him fully on the mouth. And it last for a very revolving two minutes. After which Id is speechless)

Id: whaaaa....?!?!

Ben: sorry. I just needed you to calm down and I would never slap Mal without her permission so. Kissing it is.

Id: that wasn’t a very long like kiss.

Ben (confidently and smugly): why would I kiss Mal like king?

Id: good point. I just wasn’t expecting the uh

Ben: tongue?

Id: yup.

Ben: like I said. I don’t kiss Mal like a king. I kiss her like she’s my fiancée. Which she is.

Id: but I’m not

Ben: you’re Mal’s subconscious. Which makes you part of Mal. Ergo. You are Mal. Now! What is happening? Why did you send Ego to Arendelle?

Id: I think we might need Uma. She’s been in Mal’s subconscious before. She cares about Mal to an extent that doesn’t make her blind like you.

Ben: harsh.

Id: yah. She needs to be. I can’t hold her hand right now. Her Superego can’t do it either because he’ll just let her give in out of altruism. Uma can get her to fight. Her cousin can get her to fight. And that’s what we need right now.

(In Arendelle. Uma’s in the palace chapel trying to sort herself out)

Uma: I wouldn’t have been able to save him. I know that. Jas had me stuck to the wheel. I. I was forced him kill Harry. He just....stabbed him through the heart. And all I could do was watch. Of course then Harry stabbed him in HIS heart. So you know. Fair is fair. But....I can’t shake this feeling that. I could’ve stopped. I know I couldn’t have. But. I just. I feel like shit. And I. I want it to stop.

(In Mal’s subconscious. She’s making her way to the very end of the corridor. To be exact. She’s running at breakneck speed to the end of the corridor because another huge wall of water is making its way towards her. She just barely manages to dive through the final door as the tidal wave rushes past her. She lays there on floor, soaked to the bone and shivering)

Mal: I n-n-n-need to g-g-g-get o-o-o-out of h-h-h-here.

(Having enough of shivering. She lights herself on fire to get herself warm)

Mal: that’s better. You can go now.

(The fire disappears)

Mal: thank you. How the hell am I going to get out of here?

(Her Superego materialises out of thin air)

Superego: you know what needs to be done.

Mal: nope

Superego: you have to. There’s no other way.

Mal: are you stupid? I’m not gonna martyr myself. It’s not gonna happen.

Superego: what other choice is there? You’re already drowning. I don’t like this anymore than you do. Believe me. I don’t. But the fact remains that the only logical step

Mal: is letting myself drown?

Superego: yes. Unfortunately. Yes.

Mal: not happening. You’re part of my subconscious. You work for me. So tell me how to get out of here ALIVE!

Superego: I can’t.

(Mal squeaks and almost dissolves into tears before she steels herself)

Mal: I’m going to get out of here. With or without your help.

(In the chapel at Arendelle place)

Uma: it’s not working. Usually this works. Why isn’t it working? Why don’t I feel better? I just. I need an answer. That’s.

(Unbeknownst to her. Ben’s Ego silently, and invisibly, teleports in and makes an invisible mirror to Mal’s subconscious. Where Mal is trying to gather herself)

Mal: okay I just gotta. Psych myself up. That’s all. I gotta. I gotta. H-hunker down. And persevere. Oh who am I kidding. I have to do it alone.

(The screen splits in two down the middle. Mal on the left. Uma on the right)

Uma: I always do it alone.

Both: fat lot of good you are.

Mal: now what do I have to do....

Uma: I have no idea what to do....

(This is when “head above water” happens. After the song. Ben’s Ego uses magic to gently push Uma through the mirror and into Mal’s subconscious)

Uma: owwww

Mal (quickly drying her eyes): what the-what are you doing here?

Uma (standing up): evidently. Somebody wanted me to help you. Again

Mal: so that’s their plan.

Uma: whose plan?

Mal: my. My Id and Ben’s Ego. They’re um. They’re the ones who’re narrating the story. Along with Maleficent

Uma: oh that’s not good....

Mal: no. No it is not. Let’s go

(They leave the room and head into the sodden corridor, eventually finding a door with a large golden topiary on it)

Mal: hmmm....I wonder....

(She opens the door and they find themselves in a large park in the middle of an upper class Victorian tea party)

Uma: where are we?

Mal: A Sunday Afternoon on the Island of La Grande Jatte. One of my favourite paintings

Uma: I didn’t know you were into paintings?

Mal: I paint in my spare. Granted it’s nudes/still life of Ben. But still. You’ve seen my graffiti.

Uma: good point.

Mal: and besides. I don’t actually like A Sunday Afternoon on the Island of La Grande Jatte itself. I like the musical that’s based on it. Well. To be specific, I like a revival of the musical that’s based on this painting.

Uma (resigning herself to the inevitable): who was in it?

Mal (giddily): Jake Gyllenhaal. Beard and all.

Uma: what?

Mal: it’s set in the Victorian era. You take what you can get. Watch Downton Abbey. Pay attention to the Irish son in law. You’ll understand what I’m talking about. Now sit down. It’s time for tea.

Uma: I don’t drink tea.

Mal: ya do now. Huh. It’s changed our clothes.

(It’s true. They’re now wearing upper class Victorian dresses in their respective colours)

Mal: your hair looks better when it’s in braids. You don’t look right without em. Now sit.

Uma: thanks. I think. Blech! What the hell is this?

Mal: tea. Earl Grey specifically. It’s what Ben drinks.

Uma: well I prefer rum.

Mal: of course you do. You’re a pirate. Anyway. How’re you going to help me get out of here?

Uma: I really couldn’t tell you. I’ve got my own shit going on right now.

Mal: oh yeah. That’s why I’m here. Your grief wave made me cocky. Which is why I’m currently at the bottom of a trench at the bottom of the ocean.

Uma: ah. Right.

Mal: what can I say? My Id hates you.

Uma: you don’t need to tell me twice. I was there three months ago.

Mal: exactly. You helped me get of here once before. So you can help me do it again.

Uma: I don’t think that I can. But I know that you can.

Mal: whadya mean “you don’t think you can”?

Uma: oh god do I have to spell it out for you?

(This is when “for good” happens. After the song. The two cousins pass through the door. Only for Uma to end up back in Arendelle and Mal still in her own subconscious)

Mal: what the-

(The floor gives a violent lurch again causing Mal to fall on her face and slide backwards into the darkness)

Uma: oh shit.

(She teleports into the central living room)

Uma: I know where Mal is! She’s in a trench. The bottom of the ocean. In a trench.

Eric: the Mariana’s Trench? Isn’t that like. 20 miles south of the island of the lost?

Uma: okay. You’re new

Eric: oh yeah I’m Eric. Ariel’s husband. Melody’s father.

Uma: and that makes us....what exactly?

Eric: oh. Basically nothing. Cousins in law. I guess. But I am the one who ran Ursula through the first time.

Uma: thank you for that. It’s just a shame it didn’t stick.

Eric: well, yes. But if it had then you wouldn’t be here.

Uma: good point. Anyway. How do we get there?

Ariel: we can’t.

Uma: why not?

Ariel: we wouldn’t survive sweetheart. No merperson or cecaelia have been that deep into the ocean in. Millennia. I honestly think they how we got anglerfish

Uma: you’re not getting it. I have fucked up more times than I can even count. I need to help Ben. Otherwise. I’m done. The Vks. Are done.

Ariel: I don’t believe that. And I don’t think you do either.

Melody: and besides. All of us have fucked up one way or another.

Anna: I’m partially responsible for Arendelle being put through a Class Three Killstorm.

Ariel: I got my father turned into a polyp.

Melody: I almost drowned because of my own stupidity.

Uma: and what about you? What did you do?

Eric: I told you. I killed Ursula.

Uma: ah.

Ariel: anyway. There’s nothing we can do right now. So I suggest you get something to eat and then get a good nights sleep.

Uma: I’m not tired.

Melody: that’s how we know you need to go to sleep.

Ned: c’mon captain. I’ll show you the combos that work the best.

(Ned leads Uma away. Back in Auradon’s throne room. Ben’s still unraveling a little bit)

Belle: Ben you need to sleep. It’s been 24 hours.

Ben: I’ll sleep when Mal’s out of the trench

Persey: Mal’s in a trench?

(Something inside Ben snaps. He throws a knife at Persey and it pins them to the wall by their throat)

Belle: BEN!

Elsa: what the hell are you doing?!?!

Ben: you left her. You abandoned her. AND NOW LOOK WHAT’S HAPPENED?!??

(Persey struggles to answer. The only sound coming out of their mouth being blood filled gurgles)

Elsa: Ben. Let them go. This isn’t going to help Mal.

(Ben scowls but flicks the knife sideways out of Persey’s neck, making sure to make it hurt as much as possible, and dematerialises it in a puff of royal blue smoke. Persey breathes heavily and stands back up as the wound closes)

Persey: thanks Elsa.

(Ben rounds on them again and kicks them in the crotch)

Persey: mother....

Belle: BEN! I raised you to treat w-people better than this. Sorry your highness.

Persey: it’s fine belle. It’s fine. And um. Thank you for correcting yourself.

Belle: don’t mention it.

Hades (teleporting in): oh my god Persey are you ok?

Ben (seeing red again): YYYYYAAAARRRRGGGGHHHH!!!!

(He gives Hades magically powered kick to the crotch causing the god to fall to his knees in pain)

Hades: mother of pearl that hurt.

Persey: are you okay now?

Ben: nope.

(His eyes glow royal blue and he force chokes Persey and Hades)

Belle (going full MomTM mode): BEN! This isn’t going to help anyone. Least of all Mal.

(Ben’s eyes return to normal and he releases the deity’s. But not before he bashes their heads together though)

Ben: can one of you summon Jay please? I’m still incredibly pissed off and there’s a massive chance I might “accidentally” bisect these two at the moment.

Elsa: sure.

(She clicks her fingers and Jay materialises out of thin air. His skin, hair and eyes are completely gold. And he’s holding a severed hyena head)

Elsa: Shenzi, Banzai or Ed?

Jay (returning to his regular form): no idea. But. The western sector of the forest is safe.

Elsa: well done?

Jay: awwww. Thanks. Now whaddya bring me here for and what are Perse and their jackass father doing here?

Elsa: they’re here to help us with something. And don’t bash their heads together. Or slash their throats. Or kick em between the legs. Ben’s already seen to that.

Ben (developing a MASSIVE slasher smile and turning his head Exorcist style to face Jay): I used my beast claws on Hades.

Hades: that explains the bleeding.

Jay: Mal’s missing isn’t she?

Elsa: how’d ya guess?

Jay: Ben’s going full psycho and her jackass father’s injured. Trust me. She’s missing. But you already know where is don’t you? Otherwise I wouldn’t be her?

Persey: damn he’s good.

Ben (his body cartoonishly spinning back to its usual place): of course he is. He’s Jay.

Jay: so. Whaddya need me for?

Elsa: Mal’s at the bottom of the Mariana’s Tremch. And stuck in her own mind. Harry’s death made her cocky. She’s trying to get out of there. But every so often it tilts and a wall of water hits her in the face.

Jay: so she’s drowning.

Elsa: yes.

Ben: I tried to help her but apparently I’m too close to the situation.

Jay: who told you that bullshit?

Ben: my Ego.

Jay: you’re really listening to your subconscious at a time like this?

Ben: she’s one of the narrators.

Jay: is she omniscient?

Ben:....Good point. What do we do?

Jay: Ben. Go through the mirror. Elsa. Grab the jackass and follow Ben. I’ll be there in a minute.

(The three go through the mirror and Jay turns to Persey and kneels down)

Jay: so uh. Why’d ya go?

Persey: my mother threw a coup. She needed our help. Im heir to Olympus now. My father’s king of the gods.

Jay: was it worth it?

Persey: my father controls the skies. Trust me. It was worth it.

Jay: okay. Get patched up. And pray Doug doesn’t get his hands on you. He’s far more ruthless than Ben is. And I mean that as a threat.

(Jay turns heel and jumps through the mirror)

Jay: so. Where is she?

Ben: at the end of the hall. At the door to the library.

Elsa: how can you tell?

Ben: we have the same magic. I can sense her. C’mon.

(He teleports them to Mal’s location. They find her curled up facing the wall. Having a full on panic attack. Ben starts rushing to her, but Elsa holds him)

Elsa: follow my lead. Mal. Sweetheart. It’s okay. We’re here. We’re all here.

Mal: I can’t do. It can’t do this anymore. I want it to stop. Please make it stop.

Elsa: I know it’s bad. But we’re here for you. And we’re not going anywhere.

Ben’s Ego: for now

Ben: what you saying?

Ego: I wasn’t wrong. You can encourage her. But you can’t fix this for her. This is something she has to do herself.

(This is when “you’ll be in my heart” happens. After the song. Everyone, except for Mal, is back in the throne room. Elsa rounds on Ben’s Ego)

Elsa: what the hell was that for?

Ego: I am so, so, so sorry. But you cannot be in there.

Elsa (seething): why?

Hades: she’s dying isn’t she?

Id: that’s usually what happens when someone’s drowning pops.

Hades: right. Goodbye everyone. And good luck.

(He heads off to the highest window)

Ben: and just where do you think you’re going?

Hades: to find my daughter. I’m a full god. I’m the king of the gods. I should be able to survive.

Ben: yeah well you don’t matter. Just make sure she gets out of there alive.

Hades: of course your highness.

Elsa: wait!

Hades: oh Christ Bernson. What is it now?

Elsa: where’s the ember?

Belle: Persey gave it to me. They said it might help.

Elsa: exactly. Find her. Find Mal. Find my daughter.

(She lobs the ember into the mirror and it skitters down to Mal)

Id (whispering in Ben’s ear): I told her to look for the spark inside of her and ignite it.

Ben: GRAB THE EMBER MAL!!!! GRAB THE EMBER AND NEVER LET IT GO!!!!

Jay: I’ve got the same advice. Just like. Half a rung less dramatic.

(Inside the mirror. Mal notices the ember landing in front of her. Still crying, she picks it up and immediately calms down)

Mal: who threw this?

Elsa: I did.

Mal: mom? Where are you?

Elsa: I’m in the throne room.

Mal: of course you are. Wait. Were you just in here?

Elsa: mhmm.

Mal: thank you for trying to help.

Elsa: I’m your mother. It’s what I do. Follow the ember. It’ll take you where you need to go.

Jay: are you sure this is going to work?

Elsa: something similar happened to me years ago. Only this time. I’m not going to let her get turned to ice.

Jay: that isn’t a yes.

Elsa: shush. Now. Everyone. Get out. This is between Mal and myself.

(She teleports everyone away and turns back to the mirror)

Elsa: I don’t know how that stone works exactly. But with luck. I can help you use it to lead you back to the surface. Are you eady?

Mal: yes. Only

Elsa: only what?

Mal: are you really sure this will work?

Elsa: I really. Really hope so.

Mal: then let’s begin.

(This is when “show yourself” happens. After the song. Mal is inches from the mirrors surface. Which is when 1000 gallons of water crashes down upon her and washes her away shattering the mirror in the process)

Elsa: no. Nono. NOOOO!!!!

(The mirror bursts into millions of pieces. Showering her in shards)

Ben (storming in followed by Belle and Jay): WHAT THE HELL HAPPENED?!?!

Elsa: I’m so sorry. It didn’t work.

Ben: well that much is obvious you stupid

Belle (sharply): BEN!

Jay: he’s stressed and he’s scared. We all are. Don’t hold it against him. Now. What do we do next?

Elsa: I don’t know. I just don’t know.

(Back in Mal’s subconscious. She’s just washed up in another grand entrance hall)

Id: I’m so sorry hon.

Mal: why didn’t it work?

Id: I don’t know.

Mal: this isn’t going to end happily is it?

Id: I hope so. But again. I don’t know.

Mal: I don’t even care anymore. I just want it to end.

Id: you don’t mean that.

Mal: the hell I don’t. Face it. Every time I try to get out of here I just end up further away from the exit. The mirror is shattered. There’s no. Way. Out. I’m Done. I’m done.

Id: I don’t believe that. Not for a second. You just need. You just need some encouragement.

(He clicks his fingers and they’re on a landing overlooking a grand stage. On it stand Green Mal who’s hunched over, and apparitions of Jay, Carlos and Evie who are made to look like gargoyles)

Mal: what the hell is this supposed to be?

Id: do you remember this?

Mal: another thing for the showcase we did?

Id: yup. Wanna watch?

Mal: do I have a choice?

Id: nope. Let’s watch.

(This is when “made of stone” happens. After the song. Mal lands in Ben’s arms with Jay right next to her)

Mal: how did you two get back in here?

Ben: sheer force of will.

Jay: Ben summoned his Id and she made a new mirror with her dragon fire.

Ben: like I said. Sheer force of will. Now. What do you need us to do?

Mal (getting down from Ben’s arms): I uh. I don’t know. I don’t know. Everything I try just ends up ending me further down and I just don’t know what to do.

Ben: maybe the library can help.

Jay: the what?

Ben: the library. Mal, you love reading.

Mal: yeah. I mean. It’s one of the only places I can actually sleep at. Besides under your arm of course

Ben (brightly): of course! C’mon then.

(What proceeds is a time lapse montage of Ben, Mal and Jay rifling through every single books they can find, looking for a way for Mal to get out of her subconscious. Eventually. Mal finds it)

Mal: no. NonononononoNO!!!!

(She throws the book away, hurls the desk into the door and collapses onto a squatting position. Jay summons the book towards him and searches for the correct page)

Jay (resignedly): ahhhh. Crap.

Ben (hopeful): what is it? What did you guys find? Is there. Is there a way for Mal to get out of here?

Jay: yeah. Except um. It’s not a. It’s not a good way. But it’s basically the only way.

Ben: what?

Mal: I have to um. Drink that potion from the book. Annnnd it’ll kill me. But it will get me out of the Trench.

Ben’s Ego (on the verge of tears): we are so, so sorry

Ben: go. Away.

Jay: Ben. C’mon.

Ben: get. Her. OUT OF HERE!!!!

Jay: I think it’d be best if you did go.

Ego: we did not want this to happen. None of us did.

Jay: I know. We’ll be okay. I just gotta. Take care of these two you know. Go back to your narration. We’ll be fine.

(Ego bows to the three of them and disappears)

Jay: it says here. That the subject, I guess it means you, can choose someone to be with them when they drink. Probably for transport. And you’ve got two of us. So you’ll have to choose.

Mal: I can’t. Don’t make me.

Jay: okay. I get it.

(He walks over to Mal and Ben and crouches down next to them. This is when “demons” happens. After the song. Ben and Mal are making their way to the table)

Mal: wait stop!

Ben: you okay?

Mal: yeah just. Do I have to do this right now? Or do we have some time?

Ben: yeah. Yeah we got time.

(Mal lays down on the floor. This is when “chasing cars” happens. After the song. Mal looks to her right. Only to see that Ben’s disappeared. She gets up and faces her Id)

Mal: it’s time isn’t it?

Id: I’m so sorry sweetheart.

(Back in the war room. Ben’s looking the sanded remains of the mirror)

Jay: what do we do now?

(Ben doesn’t answer)

Jay: Ben! What. Do we do?

(Ben turns and starts pacing around the table)

Ben: Demons run when a good man goes to war.

Jay: oh god seriously. Now? You’re really saying this now?

Belle: what’s he doing?

Jay (completely and utterly unimpressed with Ben’s escapades): quoting doctor who.

Ben: Night will fall and drown the sun. When a good man goes to war. Friendship dies and true love lies. Night will fall, and the dark will rise. When a good man goes to war. Demons run, but count the cost. The battle's won, but the child is lost. When a good man goes to war.

Belle: it’s a bit dark isn’t it?

Jay: Belle not now. Ben. Why are you saying this?

Ben: find Carlos. Go to Arendelle. Fetch Uma and Ned. Get back here. You have until midday tomorrow.

Jay: what? Wait. Where are you going?

Ben: to find my fiancé.

(And with that he’s gone. Back in Mal’s subconscious. She’s standing at the table, facing a giant portrait of Hades. In front of her is the book with the potion laying of inside it)

Mal: so I just, uh, drink it and it’ll, um, kill me? Yeah?

Id: yes.

Mal: why is uh. Why is that there?

Id: something to direct your final statement at.

Mal: I get a final statement?

Id: yes.

Mal: oh. Okay. Um. How do I do it?

Id: just say the first thing that pops into your head.

Mal: right. Okay. Um.

(This is when “Gethsemane” happens)

#disney descendants #zendaya!mal

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ayejayque · 11 months

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The Major Perspectives & the Important Questions in Psychology

The Psychodynamic View: In this approach, human behaviour is a result of the part played by various psychological forces and early infancy understandings. The theory emphasizes the undercurrents of the association between the unconscious and conscious mind. It also asserts that behaviour is a consequence of interior fights with people who have the least cognizance. The theory was advocated by a medicinal student Sigmund Freud in 1874. He lengthened the notion of Psychoanalysis in which he recommended that psychological procedures happen as an effect of the movement of psychosexual liveliness called Libido in the intricate brain. Later, during the 1940s and 1950s, the theory of psychoanalysis was deep-rooted with contributions from renowned psychologists and academics like Carl Jung, and A. Adler to name a couple. The important role of the unconscious Freud’s Psychoanalysis theory is grounded on two prominent expectations: - Mental ability of humans is unconscious or beyond consciousness. - Past understandings or early juvenile experiences, oversee our lifetime behaviour or how we narrate things to each other and manage our spirits. This theory by Freud was built on his study results and observation of the behaviour of his hysteria. According to him, our unconscious mind or blocked thoughts, affect our everyday behaviour and what we sense about ourselves as well as other people. The Id, Ego and Superego Freud categorized character into three discrete parts - Id, Ego, and Superego. The id is the unconscious element, and the ego is both unconscious and conscious elements i.e., sensible and balanced parts of the nature. The superego is the morality which is developed during the early phases of life and swallowed from parents, social networks and coaches. Like the ego, the superego also has both the unconscious and conscious portions. According to Freud, a person is likely to be in a state of mental stability when all the 3 fundamentals are in a stage of evenness. When the ego is in a state of bang-crash or a fight between the id and superego, the consequence will be psychological strain or imbalance. As per him, we people just know very slight about the mind or our thought procedure and the rest remains concealed from us or is existing in our unconscious mind. Psychodynamics of Carl Jung Swiss Analyst Carl Jung extended the philosophy of Psychodynamics which was hypothesized by Freud in the last century. He tried to fit in the contraries, while still preserving their individual units. His form of Psychodynamics gave less consideration to the fight between the Id and the Superego; in its place, his emphasis was more on joining in different parts or fractions of the character. Psychodynamics theory in the present-day background and its pertinence to management and administrative studies In the present background, psychodynamics theory is thought of as a multidisciplinary arena which is in a constant state of development. The focus is on the examination and study of influences manipulating human views, designs of replies and numerous other issues. - Core conflictual association themes or the notion of the “inner theatre”: McDougall (1985), engrossed in the notion of inner theatre and described how our early understandings of infancy in connotation with our caregivers’ impact or oversee our everyday behaviour or answer outlines. Within our inner theatre, we have an inclination of emerging intricate association themes over time, which contribute to the growth of our character types, which are also regarded as CCRT or Core Conflictual Relationship Themes (Luborsky & Crits-Christoph, 1998). An analysis of Inner theatre or CCRT will aid us to comprehend the variances in the behaviour designs of persons and the underlying drive, and causes of fights both at the office and on the personal side and deliver suitable answers for consolidation of the social relationship or refining efficiency. - Leader and disciple bond: The Psychodynamics theory clarifies the spirit of leadership by examining many reasons which govern the behaviour of a spearhead in an administrative background. The stress is on the association between leaders and disciples for safeguarding organizational achievement and success, their motivational designs, preference for uniqueness or working together in a cluster. Psychodynamic lessons also investigate the shady and dark sides of leadership. - Psychodynamics training aids in the examination of the administrative hints: The theory offers a response to the reasons of organizational hints which could be a consequence of association issues, group communiqué difficulties & lack of inspiration, leader’s interactive problems or a broad administrative neurosis. The psychodynamic method implements a scientific method. It puts more emphasis on individual insight for determining the root reason of the problems by forming thoughtful and answerable practitioners. - Systematic estimation and a wide-ranging method: The theory helps in the methodical and detailed study of the reason for association issues in an administrative context by concentrating on separate, cluster or total community exchanges. Various approaches are assumed for inspecting the source of the problems like real-life case lessons, 360-degree responses, training and detailed talks for studying many behavioural views. The confines of the Psychodynamics theory - The theory of Freud is too subjective and cannot be proven scientifically. His work was grounded on the study of the behaviour of the patients who were enduring treatment for psychological issues and the effort was more on disfunction or the abnormal. - The theory fails to clarify the answers for nurturing behavioural improvement in the people or their leaders. The emphasis is more on purifying self-awareness. It cannot be virtually related to the arena of training for altering behaviour. - The psychodynamic approach focuses on the distinctive features or on the control style or the character of a leader. As a result, the complete organizational areas of worry are ignored. Important queries in psychology and the trials to the field of study - Nature and breed association or interrelationship: Extensive examination studies are still going on in this area to appreciate the association between genes and ecological factors for probing the motives for behavioral variances in people and how they adjust to the environment. Many experts and philosophers approve of the fact that both genes and the atmosphere play an energetic role in manipulating human behaviour. Investigators reveal that the share of the visible disparities in features (in terms of intellect, tallness, etc.) amongst individuals is due to hereditary distinctions, which are also defined as heritability of the features. The question of the relationship between nature and breed is quite intricate and very problematic to answer. - Determinism vs. unrestricted will: This is concerned with up to what level individuals can work out control over their individual behaviour or activities. Psychologists are trying to understand the impact of ecological factors on our behaviour which is guided by forces which are outside our control or if we choose the behaviour which we want. Behaviour is a product of numerous ecological influences and hereditary factors. - The association between accuracy and inaccuracy: The area tries to find out the answer to the association between imprecise and precise decision-making competencies of a human being. Psychologists try to examine up to what degree human brain powers can act as a computer of info and how competently can a human brain plot or implement well-organized decisions. But the authenticity is dissimilar and the human brain is far away from being faultless because our rational style is governed by our awareness of the world about us, our feelings and inspirations. Hence, our choices may depend on the imprecisions governed by the impact of our perceptual prejudices. - Processing which is unconscious and conscious: The Conscious and unconscious features of the human brain, behavioural variances and mental designs have been defined in Freud’s Psychodynamic theory to a very excessive degree. Even modern studies on mental psychology, equally highpoint that our behaviour to a great degree is governed by numerous parameters which may not be obvious and about which we have the least consciousness. - Resemblances versus differences: Psychologists have been studying and examining the psychological and character resemblances and differences between males and females. The resemblances and differences in civilizations, regions or philosophies and the behaviour of individuals across the world have also been scrutinized and studied. Multicultural psychologists try to address the queries connected to the influence of the atmosphere or background of the individuals on their behaviour. Read the full article

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