'What are my duties?'
'The normal ones,' I said. 'You have to save me.'
'You need saving?'
'I do.' . . .
'And after I save you? Then what?'
'Well, then I'll owe you.'
'What will I get?'
I shrugged. 'Whatever you want. You saved my life, after all. I'll even be brave and swim across the sea to see you if you ask.'
'Who says I'll be there when you get there, waiting for you?'
'I'll wait for you, then,' I said. 'I'll wait on my knees at your doorstep until you come home.'
Katherine Lin, from You Can't Stay Here Forever
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I'm just gonna say it again real quick:
Yes!! Iron Man is a tragedy! It has and always has been since the very first appearance in 1963 which describes itself, Tony's life, and legacy, as such.
Tony causes most of his issues himself, he is his biggest villain, a majority of his rogues gallery are caricatures of the worst versions of himself brought to life (when they're not just being racist cuz...60s...). The worst thing about being Tony Stark is that he can't stop being Tony Stark (he tried!!) That is the point.
The majority of pain Tony goes through, is pain he inflicts on himself, whether intentionally or inadvertently. That is the point.
He is not A villain (at least. Not usually. There are...some rough moments and arcs that are. Not great. As there is with any character as old as he is). But he is his own main antagonist.
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She's very interested in the abstract and philosophical side of concepts. But she has trouble finding her footing in the real world.
Katherine Lin, from You Can't Stay Here Forever
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The Lights Analysis vs. The Papa Script - (No Actual Lighting Discussion)
Okay, time to cross-reference/analyze my analysis with the Papa Script.
First up here: Robin Buckley.
Originally, I wanted to look at her saying, “It’s not everyday you loose your home and vehicle in one fell swoop,” because that has foreshadowing of Will and Mike in the van scene. Will breaks both their hearts in one fell swoop. However, I didn’t even make it to that point (these scripts also aren’t mine, but I’m sorry if this is yours because I can’t remember where I took it from)-
Because my brain stopped on this;
“ARMS CROSSED; a gesture of defensiveness: an instinctive act in nearly every single person facing something unknown. Her ANXIETY is obvious.”
and then I went- hey, that reminds me of something-
Oh, hello Mike and Will at Suzie’s house, how’re you doing? Feeling uncomfortable, ANXIOUS, perhaps?
I went over this it in this analysis, but Mike and Will both are tense at Suzie’s house. And this line with Robin helps to establish the fact/idea that they are in fact defensive and anxious.
And now onto the most correct I’ve ever been in my entire life (except when I correctly guessed, after reading Gideon the Ninth, that- just realized that that’s a major spoiler so, uh. Go read the locked tomb series if you like the idea of “lesbian necromancers [exploring] a gothic, haunted mansion in space.” anyways- back to the post.)
“There’s something else that Will isn’t seeing” vs. “What are you 12 years old dude?” and Will not grasping the true meaning of what Mike said. (this is the post, because I linked the other one. There’s 16 parts at the moment, I won’t make anyone trudge through that if they’re only looking for one thing. So, here it is if you’d like to see it.)
This line in the script, right here, “nervously”, “contemplatively”, god damn.
“He stutters through this sentence like he’s nervous. His tone during this statement isn’t sad or heartbroken, it’s contemplative.”
It makes sense. This all makes sense. because they aren’t talking about El, they're asking, “What about us?” But Will doesn’t understand what Mike is saying and Mike doesn’t understand what Will is saying.
And we didn’t need a script to tell us that.
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