Desperation, Fear, and Isolation: Themes in “TKAA” (3x02)
Some thoughts about how dark themes and pretty pictures go hand in hand.
This meta is for the spnematography episode prompt for “TKAA” (3x02). Once again this morphed into something bigger than originally intended. *headdesk* Therefore, the first part (this meta) will cover the “original” episode prompt and will only discuss shots and interpretation specific to “TKAA”. The second part (a separate meta) will step back and examine how the themes brought up in this episode, as exemplified by a handful of screencaps here, have been played throughout S1, S2, and so far in S3. Then I’ll discuss how these themes tie into the mytharc and why they suggest that the boys are unknowingly doing what the YED could never do and how they may be responsible for their own undoing.
Annette, Lisa, and Sam: Mirrored Characters
I picked the following three screencaps not only because they’re striking *flails*, but because they each depict an evolving theme in “TKAA”: desperation, fear, and isolation. These three themes partially define the emotional story arcs of Annette Doolitte, Lisa Braeden, and Sam Winchester, which are mirrors of each other. How appropriate, then, that we’re given three almost identical shots of each character at the climax of their story arcs that demonstrate this (many thanks to the director, Phil Sgriccia, for making these visual connections so prominent :D) *dances*. But before we dissect the screencaps, let’s take a look at these three characters’ story arcs in order to put these pictures in context.
To some degree, Annette, Lisa, and Sam’s emotional journeys parallel each other. Their discoveries, while vastly different on the surface, are thematically similar. As their stories progress, we see them each undergo similar changes, landing them in each in different but related emotional states which are all close cousins to despair.
When we first meet Annette and Lisa they’re both very capable, self-assured women, mothers who have faired well in the face of loss and adversity. For Annette it was divorce/separation and for both of Annette and Lisa it’s raising a child as a single parent. At the beginning of the episode, it seems like these women are the opposite of what they appear to be in the screencaps below; in particular, Lisa, who seems unafraid, self-sufficient, and definitely not desperate to have Dean (or, I think, any man) in her life.
At the beginning of the episode, we see our same old Sam as determined as ever, looking for a way to save Dean. Like Annette and Lisa, Sam seems relatively capable (although he’s perfectly incapable of lying smoothly to Dean XD!) and has also survived a number of challenges, emerging relatively normal and surprisingly functional under the circumstances (the death of his parents, his girlfriend, his OWN death, being persecuted by a demon, possibly being the Anti-Christ etc.).
However, as the story progresses, Annette and then Lisa begin to doubt themselves. They grow alarmed and fearful as they discover that what they believe to be true is a façade and that something more sinister hides under the guise of normalcy (their children aren’t their children).
This shift is especially prominent in Annette’s story. She first expresses her worry that her daughter, Katie, isn’t her daughter to Lisa, who unintentionally minimalizes her concerns (oh, the irony). Annette doesn’t plead her case or insist she’s correct; she retreats, takes Katie, and leaves Ben’s party. When Annette’s fears are confirmed by the gigantic toothy leech-like mark on her neck, what does she do? She doesn’t ask for help, but further isolates herself, likely fearing that nobody will believe her, that her credibility as a mother would be eroded, and/or her own sanity would be questioned. Her fear and self-imposed isolation breeds desperation. And finally, Annette, believing that she’s out of options, attempts to drown Katie.
Lisa also slowly comes to realized that Ben isn’t right. Her story is truncated as her discovery moment coincides with the plot climax, but nonetheless she grows fearful of her son and in her desperation attempts to escape. But she’s trapped in her house by other changelings and, like Annette, is ultimately alone in her situation. Also like Annette, ironically, it’s the thing she loves and values the most (her child) that is the source of her fear, desperation, and isolation.
Sam’s emotional journey mirrors Annette and Lisa’s. His emotional trigger also centers on the discovery that his past is not what it seemed (again!) and that something sinister is operating behind the scenes, causing the systematic murdering of his family and mother’s friends. Sam experiences a number of similar emotions: panic, fear, desperation, despair. For whatever reason, he’s not yet told Dean about his conversation with the ketchup!demon and is also very much alone in his discovery. And like Annette and Lisa, it’s also his family (his family’s past specifically) that’s sourcing his fears.
At the climax of their story arcs, Annette, Lisa, and Sam are helpless and isolated. Annette has locked herself in the bathroom with no way out as her not!daughter, Katie, pounds on the door and screams at her to let her in. Lisa is trapped in her house by three changelings outside her front door as her not!son, Ben, approaches. Sam sits alone with his head in his hands, unable to do anything about his dead family members and mother’s friends, essentially trapped by his past.
Cap 1. Annette Doolittle: Desperation. All caps from leggyslove.
Cap 2. Lisa Braeden: Fear
Cap 3. Sam Winchester: Isolation
Three Characters, Three Themes, Three Pictures
Considering the parallels between Annette, Lisa, and Sam’s situations and their similar emotional states, it’s fitting that all three shots of their emotional climax mimic each other in composition and linear motif.
In each screencap, the principle points of interest (Annette, Lisa, and Sam) are all dwarfed by their surroundings, reinforcing the idea that they’re being overwhelmed by circumstances out of their control. Furthermore, Annette, Lisa, and Sam have similar body postures: curled in on themselves, cowering, or hunched over with their hands covering or thrown out protectively to shield their faces. This also physically reduces their size as well as conveys an air of desperation. Long vertical lines dominate each of the three shots and impart a sense of helplessness by adding height to the image, further diminishing the size of the characters and isolating/confining them to specific parts of the frame.
This linear motif not only unifies these three shots, but also provides important depth clues. The screencaps of Annette and Lisa feature vertical lines that dominate the foreground. In Annette's shot it's the edge of cabinet and shower; in Lisa’s it’s the railing of the staircase and the edge of the closet door. Placing these elements in the foreground crowds Annette and Lisa between adjacent lines and smashes them into the background, making them again appear smaller. These prominent foreground objects also help define deep space, essentially giving the illusion that the two-dimensional surface of your TV/computer screen is three-dimensional. Deep space is usually preferred for dramas vs. flat space which is used for sitcoms and newscasts. Supernatural is usually shot with a huge number of deep space cues, which, in my opinion, increase the visual impact of a scene, upping the dramatic factor by allowing the viewer to feel a part of the action; it almost feels like you’re hunched next to the counter in the bathroom with Annette, and the shot of Lisa could almost double as a Ben POV shot. A sense of inclusion is required for visceral reactions and emotional attachments that are necessary for horror movies and dramas respectively (and is the show not a horror/drama?). *grins* If you want to see beautiful examples of deep space shots look at hugemind’s meta on Exit Signs in “IMToD” (2x01). Or if you want to see a movie that’s completely shot using deep space (and is eerily similar to “DitW” (1x03)) watch “The Ring” (2002).
Now back to “TKAA” …
The screencap of Sam is interesting. It differs from the other two in that there are fewer and less prominent foreground objects (OK, the yellowish flowers at the right side of the frame technically count, but you barely notice them). Sam isn’t relegated to the background, but is part of the fore-ground/mid-ground with the depth clues existing behind him; the camera is angled such that the lines formed by top of the wall panels and edge of the table and bottom of the headboard create a vanishing point just off the left side of the frame. The overall visual effect is that Sam isn’t as completely overwhelmed by his surroundings as Annette and Lisa are. I’m not sure if this has a deeper meaning or not, but there you have it. *throws useless observations like confetti*
But what’s the use of all this blabbering analysis, if the pictures aren’t pretty? I would argue none (but I'm shallow and selfish like that *grins unapologetically*). One thing I found interesting was how my eyes immediately snapped to these three shots. There was something about them that felt right even though the subject matter (Annette, Lisa, and Sam) is dwarfed by its surroundings, lingers near the edge of the frame (especially in Cap 1), and is sometimes cut off by foreground objects. Then I recalled something from my university film class, which is pretty amazing considering the state of my brain these days. These screencaps are visually appealing because they follow the rule of thirds. Annette, Lisa, and Sam are all positioned at or very near power points. And each shot is nicely balanced so that the visual weight is evenly distributed. Lisa in the corner is offset by the dark blue balloon hanging off the closet door (there’s that pesky red/yellow/blue color combination again … just another useless observation). The white toilet sits at the opposite the power point that is Annette. And the twin red lamps provide symmetry and counterbalance Sam in Cap 3.
So The Show obviously has people who know exactly what they’re doing and can create visually pleasing shots that supplement the characters’ mind set as well as service the plot. In “TKAA” the themes of isolation, fear, and desperation were reflected in three different characters in three different scenes, but were unified through almost identical composition and linear motif. Based on what we’ve seen so far in S3, we should be getting more variations on these themes, and it’ll be interesting to see how and when they reappear and if they’re conveyed using similar shots. The more I watch for the details, the more I’m impressed by how much effort seems to be put into creating each episode. Go SPN crew. Go Show!
How this relates to the mytharc and the dead!YED coming soon in the second meta “The Downward Spiral: What the YED Could Never Do”. :) ETA: This meta (in it's final stage) accidentally got deleted. :(