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trinuviel · 6 years

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ALL IS SUBTEXT – A Case for Jon and Sansa (part 2)

This is the second part of a series where I’ll take a look at the odd romantic tension that permeates the scenes between Jon and Sansa in seasons 6 and 7. In my previous post, I made the argument that there is indeed a romantic subtext in the show when it comes to the relationship between Jon and Sansa – an argument supported by the observations of professional entertainment writers.

The remainder of this series of metas will be devoted to analyzing exactly how the show establishes this subtle and romantic subtext between the two characters. However, first we need to ask the following question:

What is subtext?

Briefly put, “subtext” is content that is articulated beneath the surface of the text! Thus, is plays out underneath the dialogue. It is a set of meanings that are not made explicit through dialogue or surface description.

This means that a subtext easily can be overlooked by the audience – either because the audience doesn’t engage critically with the text or it only pays attention to the surface of things – or because preconceived notions make people blind to the subtext in question. The latter aspect certainly comes into play when it comes to Jon and Sansa since they have been presented to us as a pair of half-siblings, albeit ones with a very distant sibling relationship that the audience never got to witness before their reunion.

Subtext was originally a literary term but it pertains to other forms of storytelling. In fact, I’d claim that it is a concept that is especially well-suited for television and cinema since a subtext can be articulated on a pure visual and auditory level.

If the subtext works exclusively on the visual level then it is much easier to overlook because people often consume visuals uncritically.

The audience often pays more attention to the spoken dialogue while also enjoying grand visual spectacle whereas the more subtle issues of mise-en-scene (stage setting), framing, editing, non-verbal acting, etc. often are overlooked.

In Game of Thrones, the romantic subtext between Jon and Sansa plays out entirely on the visual level! The scenes between the two characters has already been dissected minutely in the fandom and I doubt that my conclusions about individual scenes cover any new ground. Rather, I’ll attempt to analyze exactly HOW the show establishes a possibly romantic subtext between Jon and Sansa. What kind of techniques of visual story-telling does the show employ?

READING FACES

How do we discern what the characters feel in cinema and television, especially if they don’t explicitly voice those feelings? We discern emotion by reading faces and body language. This isn’t just confined to cinema and television. We do this every time we interact with another human being. However, a important part of visual story-telling rests upon the audience reading non-verbal cues from the actors. In fact, it is an aspect of visual story-telling that has been used for centuries. Thus, in the 17th century the French artist Charles le Brun (court painter to Louis XIV) created The Expressions of the Passions, a codified system that matched specific emotions with very specific facial expressions along with directions on how to draw/paint said expressions:

(Charles le Brun, Tearfulness, 1688)

In modern cinema and television, the non-verbal expression of emotion rests upon the ability of the actors and the use of close-ups.

However, reading faces can be tricky – especially if the non-verbal cues are subtle. Furthermore, our wishes and prejudices can get in the way of a correct reading, either because we want to see certain things or because we don’t want to acknowledge something that makes us uncomfortable. I’ll not dispute that many of Jon and Sansa’s scenes can be difficult to read for subtext for exactly this reason, especially because the scenes are somewhat ambiguous.

MTV’s Rachel Handler found the fireside scene between Jon and Sansa in episode 4 (season 6) rather flirty. This interpretation is hotly contested within the fandom with one side denying any flirty vibe whereas another side firmly believes that it is there.

The scene in question is playful and sweet – but is it low-key flirty? Is there an odd romantic subtext to this scene that on the surface looks like a moment of bonding between a pair of previously distant half-siblings? In order to answer this question, I’ll engage in a little experiment. First, let us look at the scene in real time:

youtube

Then let us take a look at the scene as it is broken down into individual shots through this series of GIFs:

(GIFs by @timothchallamet)

A lot of people have tried to explain away any odd romantic vibes between Jon and Sansa as the result of chemistry between the actors. There’s no denying that Kit Harington and Sophie Turner have great on-screen chemistry, which is partly due to them being close friends in real life. However, what many people fail to realize is that “chemistry” between actors is always framed for the audience through various cinematic techniques. It isn’t unmediated! First of all, you have to take the mise-en-scene into account, i.e. the stage-setting, lighting and the blocking (the positioning and the movements of both the actors and the camera in a scene). The hearth fire and the soft candle light sets an intimate mood that is underscored by the fact that Sansa wears Jon’s clothes (trousers and his season 1 cloak).

Furthermore, any “chemistry” between the actors isn’t just captured by the camera and then transmitted unfiltered to the audience – the footage isn’t presented to “raw”. There are several processes in play between the actual filming and the finished product – the editing is an incredibly important aspect of film-making and the editing can influence the meaning of scene greatly.

To continue my little experiment, let us see what happens if I remove a couple of shots from the fireside scene:

What a difference a little editing makes! The shot that adds a flirty vibe to the whole is exchange is this little gem:

This single shot contains two non-verbal cues that can be interpreted as flirty: The licking of the lips and the way she lifts her gaze, looking at him from beneath her eyelashes. Both elements are common romantic tropes, both in literature and cinema.

FRAMING AND EDITING

Another scene that has a strong romantic vibe is the scene on the battlements in the last episode of season 6 where Jon places a tender kiss on Sansa’s forehead. Is this scene platonic or is it borderline romance? During the course of the seasons, the audience have been presented with a number of forehead kisses – between parent and child:

Between a romantic couple:

Between siblings:

The latter example is particularly interesting in the context of the forehead kiss between Jon and Sansa since the show has Viserys express an openly incestuous interest in his sister Daenerys. In a scene before this one, Viserys fondles his sister’s naked breast yet the way he kiss Dany on the forehead is decidedly more platonic than the when Jon does the same with Sansa.

In all of these examples, the forehead kiss is contained within a single shot and with a limited use of close-ups. The forehead kiss between Jon and Sansa is shot, acted and edited in a markedly different manner than all of the other forehead kisses in the show. It is a fairly long scene (10 seconds from the moment Jon touches Sansa’s face to the moment he disengages) and so is the kiss itself (4 seconds) and it involves more than one frame with shifting close-ups of Jon and Sansa, registering their expressions and thus turning this simple act into an emotionally laden character moment between them. This alone gives the scene a narrative weight that all the other forehead kisses lack. It isn’t just a random sign of affection but rather an intensely meaningful moment between Jon and Sansa.

youtube

But is it romantic? Let’s repeat the experiment from above with the JonSa forehead kiss:

(GIFs by @hollywood-movies-and-tv-fanatics)

Now let’s see what happens if I remove some of the frames:

This is just to show that if the scene had been edited differently, it could have been shorter and the emotional “tone” rather different. There is one particular shot that lends this scene a decidedly romantic vibe:

(GIF by @akscully)

The way that Jon tilts his head and leans in makes it look like he’s about to plant a kiss on her lips. It is subtle but it is there and you have to wonder why this particular shot was chosen.

It is important to remember that they film several takes of each and every shot that appear in the finished product that we see on the screen – and several people are involved in what the final product looks like: the showrunners, the director and the editor. Thus, this particular shot was seen and approved by several people and I seriously doubt that all of them were blind to the non-verbal nuances and the romantic vibe they convey. If you still doubt that this shot could be interpreted as romantic, then it is a good idea to compare it with scenes from other productions where the actor (Kit Harington) acted in explicitly romantic scenes. Luckily there’s a good example from the movie Pompeii:

(GIFs by @tiny-little-bird)

I rest my case.

To be continued…

#jon x sansa #meta #all is subtext #jonsa #actuallyjonsa

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justanothercinemaniac · 7 years

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Epic Movie (Re)Watch #159 - Star Trek (2009)

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: No.

Format: Blu-ray

1) This was my first encounter with Star Trek. Ever. There may be a chance I saw The Motion Picture before this but I didn’t remember it. At all. This was it for me. And I have to say I’m grateful for that because it really pulled me into this world which I now thoroughly enjoy.

2) Our very first experience with this film are the soft notes of Michael Giacchino’s theme for the rebooted universe. I think Giacchino is the finest modern day composer around and I think Star Trek is his finest piece of franchise fare (while the score for Up might be his best work ever). Giacchino’s more fits like a glove with this world. It is new yet feels familiar, relating to the feelings of hope, adventure, and danger which is such a trademark of the series. Like all great scores, it helps hold up the film and I love it for that.

3) The attack on Kelvin is a gripping and excellent way to open the film. It features tense action and opens on a note of darkness and unexpectedness which will come to define the dangers of the film.

Captain Robau: “You’re captain now, Mr. Kirk.”

(GIF originally posted by @kamala-khan)

Chris Hemsworth features in a noteworthy pre-Thor role in this film. The referring to him as Mr. Kirk almost plays against expectations, because one might observe that he looks more like William Shatner in this film than Chris Pine does. In his short time in the film, Hemsworth’s George Kirk is able to do some incredible things. He is more a plot device than a character, establishing Kirk’s loss as well as the enemy this film will feature, but that doesn’t mean you don’t become invested in his character. That doesn’t mean his death doesn’t have impact. I think it’s a testament to Hemsworth’s performance, as well as the writings & directing of this film, that he leaves such an impact on the audience.

5) Fans of “Once Upon a Time” (among others) will recognize Winona Kirk:

6) The goodbye between George and Winona is heartbreaking.

In a scene which is elevated by pacing, the performances from both Hemsworth and Morrison, as well as Giacchino’s touching score, this scene breaks my heart a lot more seven years later than it did in 2009. Granted I’ve dealt with more loss (some of it pretty recent), so maybe that’s why I teared up. As an adult the scene strikes a deeper chord with me. It sets up the loss Kirk has to live with and the sacrifice of his father which will weigh on his shoulders for the first three of these films. It is an excellent introductory scene into the film and - in one specific line - even shows just the love and respect this film pays to the original.

George [after Winona suggests naming him after his dad]: “Tiberius, are you kidding me? No that’s the worst. Let’s name him after your dad. Let’s call him Jim.”

7) JJ Abrams has a lucky charm in actor Greg Grunberg, who makes an auditory cameo in this film as Kirk’s stepdad via radio. Abrams includes Grunberg in almost all his films (he is notably absent in Star Trek into Darkness) and the pair have known each other since Kindergarden.

8) Young Kirk and Spock.

The initial scene with an adolescent James T. Kirk shows off his conflict quite well. He’s a rebel. Much more than Shatner’s Kirk-Prime and that is saying something. Closer to Han Solo than a Starfleet captain, he is dealing with the pain in his life and the constant lowered dismissal of others. No one expects anything of him yet as the film goes on he grows more and more confident in himself and trying to do what’s right. It’s a wonderful conflict and journey we get to go on with this character.

Much like Kirk, Spock’s initial conflict is introduced brilliantly in his initial scene. There is a dissonance between his human half and his Vulcan half I have not seen in any of the media before (I’ve never watched The Original Series, so maybe it’s in there). But the deep examination of these two halves and the conflict it brings about in Spock is a wonderful arc for the character to go on throughout the film, helping to lend it its epic feel.

10) I don’t understand Vulcan bullies. What part of bullying is logical? Assholes.

11) This line from Spock’s father is very illuminating of the Vulcan culture, in a way which surprises and delights me.

Sarek: “Emotions run deep in our race. In many ways more deeply than in humans.”

12) Winona Ryder as Spock’s Mom.

If you’re wondering why someone as young as Winona Ryder is aged up and playing Spock’s mother, there is actually a reason for it. There’s a deleted scene in the film featuring her giving birth to Spock where she is not aged up at all.

From the very start of Ryder’s brief appearance in the film we understand their relationship. We see just how deeply the pair are connected and how much Spock loves his mom. It lends to the humble pride he takes in his human half as well as the sorrow which is to come.

13) Vulcan’s are supposed to be purely logical creature, so why the hell are they so freaking racist?

Vulcan Council President: “It is truly remarkable, Spock, that you have achieved so much despite your disadvantage. All rise.”

Spock: “If you would clarify, Minister: to what disadvantage are you referring?”

Vulcan Council President: “Your human mother.”

Although I must say that Spock sass is the best.

Spock: “Council... Ministers, I must decline.”

Vulcan Council President: “No Vulcan has ever declined admission to this academy!”

Spock: “Then, as I am half-human, your record remains untarnished.”

14) Zachary Quinto as Spock.

It is incredibly hard to fill the shoes of any of these characters, but Spock was probably the most difficult to cast. Leonard Nimoy’s portrayal is iconic not just in the realms of sci-fi but across cinema in total. Yet Quinto does a fantastic job in the film. He is able to create a Spock which is unique unto itself, taking the opportunity given by Spock’s identity conflict in the writing and take it to its full potential. We see Spock’s sorrow, his pain, his intellect, his logic, his emotion, all of it is present throughout the film in a wonderful balance orchestrated by Quinto’s performance. The audience is never distracted by the fact that this isn’t Leonard Nimoy, even when Nimoy himself shows up later in the film. This is Spock. New, fresh, unique Spock.

15) Chris Pine as Kirk.

Pine’s performance - in lesser hands - could have just been a really bad William Shatner impression (which he showed off on “SNL” a few weeks ago). But like Quinto, Pine is able to take the new conflict featured in the script and make Kirk his own. He makes the character much more roguish, taking him a different direction that Shatner and creating a future-captain who feels knew and fresh. This is still a portrayal which is worthy of the name James T. Kirk: he cares about his crew, he pushes things to their limits in an effort to save the day, he’s a fundamentally good man. But add to that a heavier amount of pain from the death of his father as well as an inclination to rebel and you have a career making performance from Pine.

16) Zoë Saldana as Uhura.

Having my experience with Uhura only be the films and not the original series, I actually really prefer Zoë Saldana’s Uhura to Nichelle Nichols’. Not based on their performances, I think Nichols made Uhura iconic. But because I think the writers make Uhura much more active in the rebooted timeline than she was in the original films. She’s a bit sassier, a bit more of a fighter, and much more inclined to call people out on their shit. Saldana is a gem in any and all movies she is featured in (See: Avatar, Pirates of the Caribbean: Curse of the Black Pearl, Guardians of the Galaxy, The Book of Life, The Terminal) and her role as Uhura is no exception. I fell in love with her as an actress because of this film and I am forever grateful for that.

17) Kirk is also someone who actively seeks out fight more than Shatner’s Kirk did, I feel.

Starfleet Cadet [after Kirk is being a pill to them]: “There are four of us and one of you!”

Kirk: “Then get some more guys and it’ll be an even fight.”

[Kirk gives the cadet a pat on the cheek before getting his ass kicked.]

18) Having watched all of the films with the original cast now, I see much more of the respect and love the filmmakers have for them than I did back in 2009.

Captain Pike: “Something I admired about your dad: he didn’t believe in a no-win-scenario.”

(GIF source unknown [if this is your GIF please let me know].)

19) Kirk is also someone who enjoys defying the expectations others set for him, even if it is more for his benefit than their’s.

Kirk [after Pike says he can have his own ship after 4 years Starfleet]: “Four years? I’ll do it in three.”

20) Karl Urban as Bones.

I remember reading (but can’t find) that Leonard Nimoy found Urban’s performance as Bones so spot on similar to the late DeForrest Kelly that it brought him to tears. That right there tells you a lot about the portrayal. Urban is in my not-so-humble opinion the finest character actor in cinema right now, and even though he plays Bones closer to what he has always been (compared to the rest of the cast) that is never distracting. Kelley’s performance is a clear influence on Urban but he is still a character, not a caricature. He is able to both keep Bones the same character he’s always been without it being distracting and I love him for that. There are so many actors who I now love in film after I first saw them in this.

21) Eric Bana as Nero.

I might not be able to say this objectively, as this was my first experience with Star Trek, but I think Nero is an incredible villain and that Eric Bana is transformative in the part. Nero is not like the villains we’ve had in the past. He is not genetically engineered or trained for tactically superiority. He’s a miner from the future. He’s a blue collar worker with no military experience, driven mad by an incredible grief at the loss of those he loves (something both Kirk and Spock deal with in this film). Bana is able to portray this madness, this vengeance with incredible devotion. You don’t see Bana, you only see Nero.

22) Ah, the test...

Bones: “Jim it’s the Kobayashi-Maru. No one passes the test!”

Using the concept of “show don’t tell” to it’s full advantage, taking what was only mentioned in Wrath of Khan and showing just exactly how Kirk cheated on the (in)famous test. Although in that film he said he, “Got a commendation for original thinking,” whereas here he is given academic probation and held before a council hearing (which seems a bit extreme to me but whatever). Also, according to IMDb:

In the scene where Kirk is taking the Kobayashi Maru test, he is eating an apple, which is also what he is eating while recounting his tale of taking the Kobayashi Maru test in Star Trek II: The Wrath of Khan (1982). (According to director J.J. Abrams in the DVD audio commentary, this was not intended to be a reference to The Wrath of Khan. At one point, he was simply told that lead actors seem cocky eating apples.)

23) This was Tyler Perry’s first movie role outside of his own projects (according to IMDb). That’s all. Moving on.

24) There is this incredible and deep conflict between Kirk and Spock which I love to see turn from adversary to friendly.

These two are famously best friends and I don’t know that we’ve ever seen them so at odds with each other. They freaking hate each other. They disagree with each other and each other’s methods on EVERYTHING. It is only through this conflict, through pushing each other, and through the trials the movie puts on them that they are able to respect and admire one another. I freaking love enemies-to-friends in movies and I’m so grateful they did that for this one.

25) John Cho as Sulu.

To start with, the fact that we are re-introduced to one of the most experienced pilots in science-fiction by having him make a mistake is a strong way of differentiating Cho’s Sulu from Takei’s Sulu. It helps to remind us just how green the crew of the Enterprise is in this movie and sets up the journey to come. I really like Cho as Sulu and I think he’s great in this film. You see him as someone who’s a little more unsure of himself early on and grow into the assurance that Takei had. But I also think he has some great moments to shine in Star Trek into Darkness and Star Trek Beyond, maybe more so than the rest of the crew, so this is not the last you will be reading of Sulu.

26) Anton Yelchin as Chekov.

I will talk about Yelchin’s unfortunate passing last year when I write my recap for Star Trek Beyond soon, but I will say that I miss his presence in film. Yelchin is able to make Chekov such a youthful and fun character. He’s only 17 and is eager/excited to be on this ship. He’s smart, enthusiastic, optimistic, and able to serve to the fullest of his capabilities. In some ways more so than the rest of the cast (and I know this is blasphemy to old school Trek fans) Yelchin will always be Chekov to me (more so than even Walter Koening). I’m gonna miss him in future films.

27) The scene where Kirk is running around the Enterprise is great for me.

Not only is there some intense physical humor with the continuing set of symptoms Kirk is going through and the constant amount of shots Bones gives him...

Bones: “You got numb tongue?”

Kirk [with his mouth full]: “Numb tongue!?”

Bones: “I can fix that!”

But it also shows off Kirk’s intelligence. When he puts aside the bullshitting and the need to rebel he is the captain we all know him to be. He KNOWS they’re heading into a trap and it’s not just a bullshit feeling. Even though Spock and Captain Pike all write him off at first Kirk FIGHT to be heard and he is. He is confident and demands to be listened to, earning the respect, trust, and belief of the crew (even if temporarily). He trusts Uhura’s skills in xeno-linguistics, he read Captain Pike’s paper on his father’s death, he even gets Spock to agree that his logic is sound. It is this moment when he starts on his journey to becoming captain of the Enterprise.

28) This is an interesting parallel with Spock and Kirk’s father.

Captain Pike [after Spock wonders if making Kirk first officer is a prank]: “It’s not a prank, Spock. And I’m not the captain, you are.”

The obvious choice would be to have Captain Pike utter these words to Kirk but his using them with Spock is a nice deviation from expectation.

29) Olson is wearing a red shirt/suit.

In the original series, a “red shirt” was a character who’s role was primarily (often exclusively) to die horribly to show just how real the danger was.

30) I think the fight Kirk and Sulu have on top of Nero’s drill is not only a great action scene, but helps build the relationship between the two in a not so obvious way. When Sulu falls off the drill Kirk jumps after him without hesitation and then it is Chekov who pulls their ass out of the fire. It is a moment of deep trust between the Kirk and Sulu (and even Chekov) which will help the pilot get behind Kirk as captain later in the film.

31) Under the trivia for Galaxy Quest (the 1999 Tim Allen film) on IMDb:

In the Audio Commentary for Star Trek (2009), Director J.J. Abrams says, "By the way, I think we've all gone on record as saying one of our favorite 'Trek' films is 'Galaxy Quest'. And this sequence [where Kirk and Sulu are falling toward Vulcan without a parachute] is clearly an homage to Tony Shalhoub's great save in that film."

32) Spock’s struggle with the destruction of Vulcan and the loss of his mother ties directly into his conflict of identity. The universe needs him to be a Vulcan much more than it needs him to be a human now as he is now a member of an endangered species (and even identifies himself as such). And Vulcan’s try to outweigh emotion with logic, meaning that he is burying the grief he feels over his mother’s death in a way which is totally unhealthy.

33) I might be in the minority, but I like the Spock + Uhura relationship.

In some ways I wish it were developed more in future films, but I like how it is a quiet part of their relationships. You can tell it is based on deep compassion they have for each other as well as a total trust. They respect each other fully and never underestimate they other. There is no deception in their relationship, it’s just them. And I think Quinto and Saldana portray this wonderfully.

34) This version of Spock does not make a good captain. It is probably because he is trying to bury his emotion with an overcompensation of logic, but logic is only the beginning of wisdom and just because something is logical does not mean it is right. A lesson he has yet to learn.

35) And THIS is why this reboot works as well as it does.

Uhura [after Spock explains what the ramifications of Nero’s time travel means for them]: “An alternate reality.”

Spock: “Precisely.”

By creating an alternate reality which exists separately from the original timeline you are able to have more freedoms with your story. It is not a full on prequel or reboot. It very much respects what has come before it while clearing the way for something new to come. THAT is why - in my personal opinion - this is the best reboot of a series ever. And a method that X-Men and Terminator have tried to duplicate with varying degrees of success (X-Men doing it well, Terminator not so much).

36) Leonard Nimoy as Spock-Prime.

Now that I have seen the original Star Trek films with Nimoy his appearance in this movie carries a lot more weight for me. When I saw this in theaters the audience freaking cheered when Spock showed up as it was almost a total surprise, meanwhile I had to double check with my father that he was who I thought he was.

Spock: “I have been and always shall be your friend....I am Spock.”

[Beat.]

Kirk: “Bullshit.”

(Kirk’s bullshit made me laugh so freaking hard the first time I saw this.)

Nimoy is great in this film and passes the torch in an incredibly respectful and heartfelt way. It is a nice juxtaposition to see this wiser Spock with Quinto’s greener one and Nimoy is at his best in the part. According to IMDb:

Roberto Orci, Alex Kurtzman and J.J. Abrams personally called upon Leonard Nimoy's home to request for his role in the film. According to Orci, the actor gave a "Who are you guys and what are you up to?" manner before being told how important he was to them. He was silent, and Nimoy's wife Susan Bay told the creative team that after their conversation he had remained in his chair, emotionally overwhelmed by his decision to return as Spock after turning down many opportunities to revisit the role. He decided to act in this film as he was turned on by the script's scope and its detailing of the characters' histories: "We have dealt with Spock being half-human/half-Vulcan, but never with quite the overview that this script has of the character's entire history, his character growth, his beginnings and his arrival into the Enterprise crew."

It is also through Kirk’s brief time with Spock-Prime that he learns truly who Spock is. He sees him at his most vulnerable, at his most trusting of Kirk since to him they are old friends. And he knows that’s in Quinto’s Spock and he respects him a bit more for it, even if that respect is not apparent upon their initial reunion.

37) Simon Pegg as Scotty.

(GIF originally posted by @stnetwork)

I like how Scotty is included in the plot. It feels more organic and makes him a bit different. He’s not like the rest of the crew who we met in the academy and on the Enterprise. He shows up when he’s needed and Simon Pegg is great in the role. A major fanboy, Pegg is absolutely hysterical in the part. You can clearly see the James Doohan influences in the role but Pegg - like the rest of the cast - is able to make the part his own and fit in with the rest of the crew perfectly.

38) I freaking love this.

(GIFs originally posted by @zacharysquinto)

39) Beaming Scotty and Kirk on the Enterprise only for Scotty to end up in the water tube illustrates a simple rule in storytelling: always have things go wrong. It’s more interesting that way.

40) Kirk pushing Spock is incredibly powerful for me, because Kirk does not enjoy doing this. He does not want to do this. Despite what animosity they may have towards each other, Kirk is only doing what is right. What Spock-Prime told him. He is doing what he has always done: what is best for the crew of the Enterprise. But that doesn’t mean he’s so sure of himself.

Uhura [after Kirk takes the captain’s chair]: “I sure hope you know what you’re doing, captain.”

Kirk: “So do I.”

41) And then the crew starts to take their places. They come together to go against Nero in a way that is reminiscent of the original series.

This image also reminded me of Kirk’s costume: he is the only one not in uniform until the VERY end of the film. He’s the black sheep of the crew who grows into his role.

42) There are a few small moments in the scenes to come which show how Kirk is already filling his duties as Captain. Namely: his telling Sulu to fire on Nero’s ship even if he and Spock are still on it/his covering Spock on Nero’s ship without hesitation (despite the conflict they’ve had up until this point).

43) Remember how I said you should have things go wrong whenever possible?

Scotty: “If there’s any common sense to the design of the enemy ship I should be putting you somewhere in the cargo bay, shouldn't be a soul in site.”

[Kirk and Spock are beamed onto the enemy ship in plain sight of the crew and are immediately attacked.]

44) Similar to Khan (since, for better or worse, Khan will be the villain all other Trek villains are compared to), Nero let’s his need vengeance leave him open to vulnerability.

Romulan Crew Member [after Nero has ordered them to fire on Spock’s ship]: “Sir, if you ignite the red matter -”

Nero: “I WANT SPOCK DEAD NOW!”

45) This was always my dad’s favorite line in the film.

Ayel [Nero’s secondhand]: “Your species is even weaker than I expected. You can’t even speak. [Kirk, who is being choked by Ayel, chokes something. Ayel pulls him closer] What is it?”

Kirk: “I got your gun!”

[Kirk grabs Ayel’s gun from his belt and shoots him.]

46) And Spock makes peace with his human side.

Kirk [after offering to rescue Nero, the man who killed Spock’s mom]: “It’s logic Spock, I thought you’d like that.”

Spock: “Not really. Not this time.”

47) The entire final escape from the black hole ties in not only to the idea of making things go wrong whenever you can, but also an idea found in many Hitchcock films: it’s never over when you think it is.

48) Spock & Spock-Prime.

The only scene the pair share in the film, it is also an incredibly impactful one. A true passing of the torch, Spock Prime is able to share more than logic with Spock. He is able to share his wisdom and help guide Spock down a path as fruitful as his was. It’s a wonderful moment that the film truly needed and that I am forever grateful for.

Spock Prime: “As my customary farewell would seem oddly self serving, I shall simply say good luck.”

49) The end of this film could easily have been just that: the end. The series could have stopped here and it would have been a wildly satisfying ending. Leaving the future open for hope and opportunity, but also getting these characters in the places we are familiar with. Leonard Nimoy does the iconic monologue for the film, and Michael Giacchino incorporates in his ending score his own theme as well as Jerry Goldsmith’s theme from Star Trek: The Motion Picture and the original television show theme. It is just a wonderful ending.

Star Trek is epic. It analyzes the characters and their relationships with a depth not yet explored in the series, specifically with Kirk and Spock. Abrams directing yields some beautiful imagery and the acting is absolutely phenomenal. At its core this film is a big fat love letter to the original series and the hope it brings, paying that hope forward to a new generation who (like me) find these characters through this film. I love it, with all my heart I love it.

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