Tuesday, January 8, 2013

When You're At Home: Nick & Juliette

At long, LONG last, this series is in its final installment and we can go back to examining the minutiae of set design in recaplyses proper. Enjoy! (If I feel really masochistic I might do a When You're At Work series, but you can expect that one after the conclusion of s2.) We are, as is only right and proper, ending with the set that has the most scenes, because I secretly hate my wrists and want to see how much I can aggravate the carpal tunnel. Ahem.

I'm told that somewhere or another it's explicitly stated that the house is in Juliette's name, so I'll be considering as much of this in that light as possible, particularly during s2 analysis. She obviously knows it's her house, she feels like it belongs to her and not Nick, and so that's presumably going to affect who's done what as far as making that giant house into a home. I will try not to rant about how a house that size has to have more than one bedroom on the second floor, because it makes no fucking sense, because I'm tired of delivering the rant and you're probably tired of hearing it. I don't care what they're claiming is canon in interviews, I care that Nick and Juliette have a reverse-TARDIS house that's smaller on the inside.

As with Monroe's house, I'm cherry-picking so that this ever gets done and I stop fussing at how much goddamn data there is. On this one, we'll start with the pilot, just to see what, if anything, changes from pilot to subsequent episodes! Also as with Monroe's house, I'm sure there will be Very Important Scenes that I forget about, choose to skip, or otherwise elide in order to get you a post at any point in the next year. I do apologize for that necessity.

Interestingly, our very first shot of Nick and Juliette's home and neighborhood comes when he's not even there. This has carried neatly through the show as a theme, where Nick's home isn't safe for him or for Juliette, decreasing in safety as more and more Wesen track him down and try to kill him. And so we have Marie's truck and trailer coming down the street. Deliberately framed to be down the center of the street, with moss-covered trees forming a nice archway over. Oh Portland, you make the woods themes so easy. No wonder they decided to film here. We get a nice long exterior shot of the house: giant front porch, big bay windows in the front living room area, and it looks like the porch wraps around the entire side of the house here. (I think that changes from the pilot to be a more average sized porch, actually, but we'll get there!) Windows that indicate at least two rooms on the second floor plus an attic that's presumably partially finished; generally speaking nobody bothers to put pretty windows on an unfinished attic. This might be a loose definition of finished, but what I mostly mean is that there's not insulation uncovered by flooring up there. It's a corner house, too, making the lot it sits on likely one of the largest on the block. This is, frankly, a huge house, and I have no idea how they afforded it, either singly or together. The driveway is on the side/back of the house, leading into the backyard, which has some bushes or small trees planted along the side for what will eventually be a decent privacy barrier. Also the portion of the yard/driveway that Marie pulls onto is unpaved. We know from future shots that the second-storey shot of this is from the master bedroom, though there's no real indication that Juliette is at home at this time. We're just getting a spooky shot.

Marie makes her way slowly enough that we can see a number of potted plants on the porch, though they mostly look to be flowers rather than herbs or vegetables. This is clearly the back door, though at this angle I've lost track of how many turns we've taken and it could be a side-placed back door. She looks through the door, and we see a curved loveseat/couch with purple and green throw pillows, a small round coffee table in front, a lamp in the foreground on what's probably an end table. There's something or another framed on the back wall of this sitting room area, black on white, and beyond we can catch glimpses of the dining room - for a wonder, their dining room table isn't covered in paperwork and books and things. (Who are these people? These are not my people. Ahem.) To the left, it looks like that's the kitchen based on the reflection of what seems to be the stainless steel fridge, but it's dark enough I can't get anything else off it. Back to Marie peering in, and then we wait for Nick to come home and have a nice ominous fake-out! Sort of. Because her being here is ominous, just not in the sense where she's personally a danger to Nick. Just bringing him danger. She's a very giving aunt that way.

Anyway, Nick comes home and parks on the street rather than in the driveway. This is a definite habit for him, and at a guess this speaks to needing to be able to get out in a hurry when he's called into work. For me that would be a matter of personal preference and how bad street parking is in any given neighborhood (if I were living in the downtown of most cities? oh fuck that noise, ferex), but this is a residential neighborhood with plenty of driveways, so it's probably easiest and possibly quietest for him to peel out from the street. The porch light is on, as it habitually is when it's after dark, but Nick's Grimmstincts are obviously tingling. He comes in the front, there's the window off to his left/our right as he comes in and it should be the stairs beyond that, but we don't move from the closeup Danger Will Robinson shot on Nick's face to confirm that. There's a weird angle of Nick going through the house to the kitchen that I'm not really clear on; we can see the stairs behind him but the angle at which they go up is I think 180 degrees off from where they settled the layout. Insufficient details of where he is to be sure; this is a very open first floor layout and there are at least two entrances/exits to most of the rooms, I believe. This is a weird angle on the dining room table/kitchen area that I don't know if we ever see again; it feels like the dining room is more part of the kitchen at first than it really is. Nick comes in behind Aunt Marie at the table cutting up tomatoes, a bowl of fruit in the center of the table. As we pan around to get Nick coming through the doorway, tension largely but not entirely dispersed, we get a corner shelving unit with a couple pictures of Nick and Juliette together on it. I just want to note that not all people are the sort to keep couply pictures around the house and take the time to get them nicely framed and so on. Doylistically speaking, that's a good indicator that the surface happiness we're seeing is going to give way to deeper tension and problems soon. From a character standpoint this tells us that they're not shy, nor camera shy, and probably that they have a number of mutual friends (who we don't really see until Juliette's talking to her girlfriends in s2) since someone would have had to take the photos. Possibly that one of those friends is a photographer either amateur or professional. There's a lot of photos of the two of them around the house; these are just the first two we see. Marie's cane is leaning up against the wall behind her/next to Nick, and near to a (spare dining room?) chair in the corner, a good placement. If she were to miss the cane on her first try, she'd probably catch the back of the fairly solid-looking chair or the doorframe. We then pan over and that's probably a look from about where the shelves and pictures are, Juliette in the kitchen examining a wine bottle. There's a loaf of bread on the counter, possibly a nod to her original occupation of baker, and stacked baskets with... I think those are red/orange bell peppers, lemons, and something green. Fridge behind Juliette and I covet it, though not the part where it broke. The sink is beyond that, under the window with the wine glasses lined up in a neat row. It looks like the butcher's block with knives in is a reflection shot, but I don't remember exactly where it was in Game Ogre and it's difficult to tell. Oh, the green things in the stacked baskets are limes, and those might be oranges rather than bell peppers. That's a lot of citrus, regardless. The kitchen appears to have a number of cabinets and is done up in blue-and-white, a nice soothing choice of colors. The dining room looks like either white or a warm cream, hard to be sure with the lighting. If the chairs are symmetrically arranged, as I would expect them to be - this is a very neat home from what we've seen so far, though well lived in - then there are six chairs around the table, another good indication that they have friends over fairly often.

And then we move along to the neighborhood for awhile! Wide sidewalks, medium to poor lighting, lots and lots of big trees (mostly oaks, I think), it's very much shot to give us the feeling of a forest even though it's in the city. The raised front yards contribute to this feeling, making it feel more claustrophobic and isolated than it would otherwise. The rest of this scene is mostly action blur and there's not much additional detail, so moving along to Nick waking up from his nightmare and going down to the trailer. No, I am not doing the trailer; I believe NBC has a huge number of interior shots on that if you want to go exploring yourselves. The bedroom here doesn't feel as large as it does in subsequent eps, but it's still not exactly small. The shot probably contributes, coming as it does from one corner of the room with walls and furniture encroaching on both sides of our field of view. They've got a nice wooden bed and biiig windows, which apparently look down on the back of the house where Marie's parked. The top of at least the large center window has some stained glass detailing, which makes me wonder if there's a particular school of architecture in play between here and Monroe's house or if this is a deliberate visual parallel. Nick's stained glass is orderly where Monroe's is chaotic, very geometric in shape. The bedclothes run to blues and... red or purple, difficult to say in the lighting, and there's some kind of a dresser off to the right, I think. And then Nick goes down to the trailer so we'll wait for Juliette to go get his poor dumb confused ass. They come around the... side, it looks like, of the house, up the porch and into the house, and we still don't get as perfectly clear a shot of what side is what as I would like in order to determine where that door is, but eh, I can be patient. Sometimes.

Our last scene in their house comes a few minutes later, when Juliette's brooding about Nick being in the trailer again. She's at the big center window, but unlike last time we get the lamp on the night table turned on, so at least there's some marginal detail. It's on Nick's side of the bed (at least if they're consistent about that, and I think they are), lamp and tissues and alarm clock. That looks like a pretty old alarm, too. The curtains look to be white gauze and heavier blue; for all that Juliette herself wears a lot of reds the house is done in a lot of cooler colors. And that's all for the pilot!

We come back to it with Game Ogre, because there's quite a bit of layout detail in this ep, along with a reasonable chunk of kitchen information. Sadly, we do not get a before/during/after trifecta of scenes, which would be very useful. At any rate, Nick comes in the front door, and by this point they've settled on the layout of the first floor yay! Let's see what we can get, then. To the left we've got the coat hooks and space for people to take their shoes off, though no shoe rug/tray - given Portland weather that seems a bit odd to me, but sure, we'll go with it. Blurrily in the foreground we've got an end table with lamp and another of the ubiquitous couples photos; across the room is a sideboard type table with what's probably cabinets below, ditto the lamp and photo and behind them I think a mail basket. Straight in front of Nick and we don't get a good look at this, but it's some kind of wheeled tray deal that's probably the place for dumping keys/wallet/etc on getting in. Rug on the floor that's not really well-positioned for scraping mud off feet, but patterned so that any mud tracked in is hidden. There's one pair of shoes, indicating that Juliette might be in or that might be a spare pair of shoes. Also, I question the merits of the glass in the top of the front door as compared to a proper peephole, which would make it easier for short people to see who's at the door. Not that Nick/Giuntoli is particularly tall, but I'm just saying. There's the pillar half-wall thing into the living room (hey, that looks like my friend's house!) with still ANOTHER couple photo and some other stuff we don't really see. One gold-framed picture on the wall and then Nick passes into the kitchen and, okay, it looks like the staircase is open and has a way up from the front door and a way up from the kitchen? I think I get more info on this later, so moving along to the kitchen proper!

The very first look we get of it this scene is of the pot of water on a burner and some nebulous veggies chopped up on the cutting board in the foreground. 'cause if you put a pot of water on the burner in the first act it must go off by the third. At the latest! Gas stove, too; I approve. The second look is of a bunch of what I assume are cookbooks behind Nick's head, aww. And then pan out to the full room, lots of big kitchen windows over the sink area. LOTS of cabinets, which are all green instead of the blue we seemed to get in the pilot. There are knickknack shelves, sort of a rail that's halfway in between chair and ceiling rail heights; most of the things on there are unidentifiable but they're mostly greens and yellows, little sculptures or mini pots or vases or other such things. It lends the kitchen a whimsical touch that it would otherwise be lacking. The stove, as mentioned, with a small strip of counter right next to it. It's a big kitchen, too, counter running the full length of the walls. Working from left to right in our field of view: cutting board, paper towels roll, stand mixer, something blue and unidentifiable, picture of a flower?, blender and components, coffee machine, flour canister, blue canister probably of sugar, dirty plates (these last three over the dishwasher which is shiny and stainless steel as with the other appliances), sink and dish soap, Nick being a great door and a lousy window, yellow watering can, three little canisters of unknown things, red-green-red, something yellow that might be bananas. Then we come over to the stove! Knife block that is quite full (which means yes, that was probably a reflection shot in the pilot), a timer, big wooden cutting board with big chef's knife and asparagus and carrots on. On the far side of the stove and indicating more counter space than I would've guessed earlier is a canister full of wooden spoons, spatulas, turners, and other assorted things one would use to cook at the stove. Nick turns the burner on, I have a moment of glee over the gas stove again, and we get a clearer shot of the staircase and surrounding area. There's a number of doors in various states of openness, which fucks around somewhat with my ability to determine layout (above and beyond the usual wall-moving issues), but there's some shelves with books or papers on them, and a set of four or five different framed prints, none of which look from here like yet more couple shots.

Then we take a nice look at the first floor from the dining room as Nick's Grimmstincts kick in! Woot. So the wall with the coat hooks and so on as you come in makes up part of the... hexagonal? living room with the big bay windows, dividing it off pretty emphatically so that the living room is somewhat separate from the rest of the house. Ditto the front entrance and front stairs, because I believe the stairs as you come out of the kitchen are actually a whole different set. At any rate, we've got the dining room table with a table runner and bowl of something that's probably not fruit in the very foreground, and I think we've gone from six to four or five chairs around it. There's also not as much of a wall behind the dining room as there was in the pilot, where there was a single-width doorway instead of the very open layout they've got here in Game Ogre. Presumably that was changed for ease of filming, possibly I'm looking at it from a completely different angle. Beyond, in the living room, we can see couches and tables and chairs and lamps; at least one couch looks to have its back to the big front window. Urgh, my shoulder blades would be itching if that were my house. Also there's not very many books out or stacked on shelves compared to everyone else's houses. I suspect this is a twofold choice: one, to indicate that Nick is a Man Of Action, and two, to remind us that the books Nick really wants and, indeed, needs ready access to are the ones he's hiding from Juliette. There's a couple-three out on an end table between the dining room and living room areas, but not much else. We flip camera angles now, aiming toward the back of the house, and now it's clear that these are also different chairs than were in the pilot: fabric covered and metal rather than all wood. A framed picture on the wall to Nick's left, and some giant French doors (I think) and really, this is not what I would expect out of a cop. I know it's Juliette's house but I would still expect Nick to have insisted on some home protection. We can see a corner of the kitchen and Juliette's apron hanging up, and we get a glimpse of a floral mural on the kitchen side of the dining room wall before Stark comes barreling through said French doors. After the break, I can get one quick look at a side of the living room before we go back into all action blur, all the time. Two armchairs that look more used than the couch, a couple less massive but still comfy looking chairs, those look like bicycle wheels which since I've seen Juliette riding a bike at least once would fit. The table between the armchairs has, again, few or no books and at least two pictures that look like they're probably of people (and thus probably of Nick and Juliette). Moving along out of the glass shards and into the kitchen, we've got ANOTHER goddamn picture of the happy couple on the freaking counter. No, seriously, who keeps photos in their kitchen that aren't on walls so as to prevent them from being splattered? And the garbage can, which is cleverly located to the side of the counter by the stove. I can't get too much else out of this on account of it's let's beat Nick up o'clock, but I think that what Stark crashes through to get out of there is a back window and not a back door. And yeah, I think the dining room table has also changed out wooden legs for metal ones since the pilots, but I'm only 60% sure on that score.

The last scene in this ep is actually useful briefly, despite it focusing a lot of closeups of Juliette's trauma. Of which she justifiably has a fair bit right now. We get a front-on view of the desk/study nook that's tucked into the corner by the stairs, and given that and later eps I'm calling that confirmation that we have two staircases leading to the second floor, one directly to the left as you come in the front door and one that goes from the kitchen. This is, as far as I know, unique to all the other houses we've covered in Grimm. Anyway, this is the area with the four or five framed things we saw Nick standing in front of just before he started looking for the intruder earlier; there's a lamp and another photo of them and a Mac of some persuasion. Mac users are free to weigh in on what that is other than one of the desktops; I haven't exactly kept track. There's some kind of knickknack behind it, looks like maybe a mouse with a scarf around its neck? Aww. And just running off vague memory of the fight, I think that actually the two armchairs are facing toward the back of the house rather than being on a side wall, and then beyond that is the couch and living room area. They've got a HUGE fucking house to have all this furniture in and still not feel cramped. I have managed to get this far without ranting overmuch about the architecture fail in not having a guest bedroom, but this is the sort of shit that makes me gnaw the corners off my desk in frustration. Consistency is not a dirty word I promise.

Skipping along, then! Cat and Mouse I took a quick look at but it's all kitchen stuff and largely unremarkable. It does confirm the exterior of the house as consistent with the pilot, and there's a door between the kitchen and the study/staircase area that I missed in Game Ogre that could lead any number of places but based on its being open I'm guessing is actually to the bathroom that totally doesn't exist. (Because Heroes Don't Take Shits.) It could be a closet or the basement, but I don't generally keep closet or basement doors open unless I'm looking for something in either place. Also I got to watch Hank and Nick and Juliette being adorable together (and confirmed that Juliette/Bitsie Tulloch is very comfortable in a kitchen), so that's always a plus.

Ahem. On to Leave it to Beavers! In which I am duly grateful that I'm watching this with the sound muted and my rock playlist on so that I can pretend to ignore all the awkward in the upcoming dinner scene. IGNORING I TELL YOU. My god they're terrible liars. But first, Nick brooding over the Eisbiebers and Juliette catching him scribbling down odd not!German words. Yeah, you might want to get that looked at, Nick. We start by looking in at him from some very familiar French windows and then pan around and, okay, now we've got a chair at the head of the table where it wasn't in Game Ogre, but I would put that down to a combination of lighting/directorial choices combined with Nick wanting to watch the windows. It's a shot I think we've had a couple times, actually. Anyway, there's a couple mock-Tiffany lamps behind Nick on the half-walls that delineate the doorway between dining room and (first?) living room. All the books we've seen in the downstairs, by the way, look like reference manuals of some kind. Encyclopedias or dictionaries or something, most of them are a couple-three books that are clearly part of a set with the identical bindings. We get a quick look at the sideboard on the exterior wall of the dining room, another of the couple pictures and some candlestick holders with big fat white pillar candles.

And then we leave the dining room, only to come back to it at the new contender for most awkward dinner party ever! This is the first time I think we've seen a tablecloth on the dining room table, and at least two of the chairs have been pushed back into the corners for purposes of not having empty place settings at the table. In this lighting and at this angle, we can see more clearly that the chairs are sort of a blue-gray, which matches nicely with the darker blue of the walls. There's a number of pictures framed on the walls, the three on the back wall are I think all animals of some sort, not sure about the ones along the wall over the sideboard. As with all the other sets, primary lighting comes from the lamps rather than any ceiling lighting, and unlike Monroe's they're not even pretending by having fake ceiling fixtures. The tablecloth is a gold color that picks up the rug which covers the bulk of the dining room floor nicely. Wineglasses and probably the good china out, and then Monroe's at the door! Yay! This house has, I will just note, a ton of little side/end tables with nothing but a lamp and a picture of Nick and Juliette on each. Which is just bizarre. Juliette's scarf (I say it's hers because it's red, mostly) is hung over the banister and we get a better look at the cart which does appear to have a keys tray on it and some papers which is probably the mail and possibly a book or something. The front hall is the same blue as the dining room, and we'll see about the living room whenever I get around to doing a scene with it in. HAH. THANK YOU. I know we're supposed to be focusing on the happy couple picture here but on one of the half walls we have several volumes from Library of the World's Best Literature and Old Tales and [something unreadable]. So that answers that question, more or less.

Everybody sits down to dinner, I thank every deity listening once again that I'm listening to music instead of the awkward conversation, and hey! Placemats AND a tablecloth? I didn't know that was a thing, but sure, okay. Tan placemats, a few shades darker than the tablecloth but still in keeping with the color schemes at work here. I still can't tell what that big foresty mural behind Juliette is of, but it feels very like a jungle or a swamp off the colors and style. Also Nick and Juliette have corelware that damn near matches my in-laws'. I will be amused now. The rest of this scene is three main camera angles rotating between the characters, with increasing closeups as tension rises and Juliette realizes they're lying to her, so thank god I will not have to pause on any more of this and squirm at the awkward.

NEXT. This is mostly a Nick and Juliette in the kitchen scene, and we got such a good view of it earlier that I'm not going to go into a great deal of detail except to note that it's really nice that it does look used and lived-in after a dinner party. There's a dish rack next to the sink and leftovers go on the counter near the sink and so on and so forth. It's reasonably logical and well laid out for a kitchen that gets used, and I always appreciate that kind of thought. More useful is actually the phone call with Bud (which Nick takes in the kitchen despite Juliette wandering in and out cleaning up), where I get some confirmation on how I suspected the stairway works. Basically, you've got two first sets of stairs, one from the kitchen and one from the front door, which meet on a landing and go up to the second floor. I might have gotten this from The Other Side, which we'll be visiting shortly, but I didn't want to count on it with all the closeups of Renard and his giant feet. So, yay! Layout! This is confirmed because I can see the set of four (or so) pictures that show over Nick's shoulder when they go to let Monroe in this ep from all the way in the kitchen. Also so far all the pictures that aren't of Nick and Juliette together (and there have been NO photos of them as individuals) seem to be animal and nature focused, possibly that's a combination of Juliette's vocation and Nick's vaguely characterized but somewhat apparent leanings toward wilderness and the country.

And our very last scene of this ep, which I include so that we can attempt to catalog the ridiculous number of Eisbieber presents! There's a chair on the front porch, but it looks like just one. Not that we get much time to ponder that because LOOK, NICK, LOOK WHAT YOU DID. (Was that my outside voice? Oops.) We have, starting foreground/left and working around the room roughly front to back and clockwise! Paper bags of unknown foodstuff, jar of pickles, two tiny jars of jam, basket of apples. That's on the front hall cart/tray thing, I think. Basket full of various foodstuffs including but not limited to citrus and a bunch of canned goods, piles of canned goods and I really have no idea what that four-petaled thing is though it could I guess be a tray for parties? More fresh baked goods than you can shake a stick at, three quilts, a basket of oranges or other citrus, a couple pies, something wrapped that might be a cheese, a plant, another quilt, something wrapped in brown paper, more baked goods, a hand carved duck, I think that chair is actually new as a gift rather than original to the house but I'm not 100% sure, more canned goods, tulips, a pot and what appears to be a ladle sticking out of it, more bread, more flowers, more quilt, a pepper grinder, more bread, probably some veggies. And a wide assortment of wood carved things. Which tells us more about the Eisbiebers as a people than about Nick and Juliette, because this is very clearly the things they're good at making and capable of giving rather than something tailored to the recipients' needs. But it comes up again later, so I note it now!

Moving on to season 2 with Bad Teeth! I'm actually skipping a fair number of scenes to get to a point with fewer people and more shots of the aftermath of Kimura and Kelly taking out their anger management issues on that beautiful house. Our primary indication, as usual for this kind of visual shorthand, is the pictures all being knocked askew on the walls or off their surfaces onto the floor. We see a couch tucked in the back corner of the living room as well as a second couch that has its back to the big front windows, so okay, there are multiple couches! That's also a fair chunk of money, though they could have been carefully thrifted - they don't look super-new, but neither do they look like they belong in a college dorm. There's a fireplace because I swear there is a fireplace in every house we've looked at. I think one of the pictures on the mantel is actually of Juliette alone, and how appropriate that now is when we get the first one of those. Cue infinite back-and-forth closeups of Kelly and Nick, so we move along to Kelly making pancakes in the morning. Aww. That'd be cuter if it weren't for the whole faked-my-own-death-and-now-am-acting-like-Gollum thing. That is a very nice frying pan and a nice blue pot of some kind there. Nick comes downstairs, giving us a nice view of that mural of the St. Johns Bridge, which is a local landmark. (Gods bless google image search.) Aw, you guys! The kitchen is fairly thoroughly picked up, though as I recall it wasn't horribly damaged, either, during this most recent fight. In contrast, we can see a pile of papers and other trash by Juliette's desk area next to the back stairs, and the pictures are still skewed. The pepper grinder from the Eisbiebers seems to have made it onto the counter to the right of the stove.

The last scene of this ep is after Kelly makes an attempt at cleaning up the house, and it's interesting here to see what's been moved. The picture we're greeted with on Nick's return is, for example, of him and Hank, symbolizing the shift in his priorities as well as a not-so-subtle hint from his mother that he should maybe shift those priorities on purpose. Aheh. Cute. The cart in the front hall has been shifted out from the wall slightly, I think, but everything is neatly organized on it and the inbox-style trays on the wall are hung properly. All the pictures that were hanging have been righted, the stuffing has been cleaned up and possibly sewn back into the cushions, there's a big bag of trash and a big box of stuff that's probably for Nick to sort through and try to salvage or replace. Most of the furniture even looks like it's back where it belongs, which would be more of a feat if there were any truly unusual arrangements in here, which there aren't. And the vacuum cleaner, which presumably lives in some closet or nook we haven't yet seen, which doesn't surprise me. You can't see my vacuum or mop unless I need them, after all. The living room is a light, pleasant yellow, with a dark strip of woodwork at doorway height and then white above; this is overall a light and airy home despite the proliferation of hardwood floors and detailed woodworking throughout, and someone (probably Juliette) has gone to pains to ensure it stays that way. Light colored furniture, lighter area rugs overall, fairly light shades of paint on the walls, and unlike, say, Monroe's place, not all the furniture is heritage dark hardwood. It all combines to give the house a very light, homey feel, which makes it both more shocking and painful when the home is invaded and makes it tricky to set a scene with ominous undertones. Mostly they accomplish the latter by picking narrower areas, doing close pans on someone's (usually Nick's) Worried Face, filming after dark, and ensuring that whoever's on screen is framed by at least one doorway/window frame, which will usually be darker wood.

And now for our last scenes that I've pulled out of this, which are not from Season of the Hexenbiest as you might justifiably expect, but from The Other Side, where we get a fairly long look at the upstairs. We'll ignore the several other scenes from this ep and focus on the one of importance, as Renard loses his constant battle with the stupid love potion and ends up embodying truly disturbing stalker behavior. (Which is, admittedly, better than what he's probably being compelled to do. God this is going to suck.) We'll start with the exterior shot, which confirms for us a number of steps up to the porch and several pots of flowers on it, some of which I suspect are from the Eisbiebers. The number on the front, which I don't believe I've mentioned yet, is 805, though I doubt that has any great significance. (If I were looking for significance, I would find it in 8+5=13. If I were looking.) One of said pots has presumably been here awhile, though, since Juliette's motions to get the spare key are habitual. The mailbox might have a name on it, I can't tell right now. Oh, hey, the photo when Juliette gets in, the one that back in Bad Teeth was of Nick and Hank and prior to that was of Nick and Juliette? Is now of Juliette by herself. I can't decide if this merits a guys-you-are-not-subtle or a duly self-deprecating comment about the depths of my detailed-oriented nitpicking. Hey look, the bedroom! There are three pictures on the wall above what looks to be an old hatbox and suitcase on a luggage rack, which is pretty but not particularly useful. There's a fair amount of pretty but not very useful in this house, really. Behind Juliette in the hallway is a small white chest of drawers with a lamp on top but we'll have to wait for Renard to start sneaking before we get back to the layout of the upstairs. This is, admittedly, a very large bedroom and master bath, which I note alongside of the big dark dresser and the very interesting remaining photo of Nick and Juliette together in something of a headshot. This looks like something she took of them on a cell camera, actually, and I'd bet that this is her way of trying to jog her memory each morning/evening/both.

As Renard comes in, we get confirmation from this ep (I could have gotten it from others but I'd be here all week) that Nick's sleeping on the corner couch rather than the one that would put his back to the big windows. Good cop, have a donut. The dining room table now has only a runner on it, not even a bowl of fruit or flowers or other decoration. We get further confirmation on the layout of the stairs, yes, thank you, but an irritating lack of layout with the upstairs hall and the stairs and where everything comes out. It's implied that the stairs end right around the doorway to the bedroom, but the width of the hall would indicate further rooms or at least another flight of stairs going up to that attic we can see in the exterior shots. I have been so good, but people? This is why checking that your insides are not smaller than your outsides is a good thing. There's a painting, abstract, in red-on-white over the white chest of drawers: Juliette's colors again. Several photos which Renard is ever-so-helpfully blocking. And hey! We get a look at the table/dresser sort of thing (extra chest? I guess?) that's not a bedside table but is instead up against the wall that's adjacent to the stairs. Another couply pictures, some probably fake flowers (or at least that's a bad job on making the fake plant look real) and one of those hands of wrap my necklaces/bracelets/rings around, just so we're reminded of Juliette's side of the bed. Beyond in the corner is the closet, and then there's her bedside table which has lamp and I think alarm clock and maybe a book, it's hard to see in this lighting. Above the bed are three framed photos of various landscapes, or possibly that's meant to be a triptych all of the same area in slightly different directions? There's room in this bedroom for two armchairs by the window, which I don't remember as a thing from the pilot, more landscape-looking photos on the wall flanking the big window, and a stool or something under the far window. The pan is quick enough I can't make out much on what used to be Nick's bedside table but it doesn't look like it's changed overmuch since the pilot. More pictures over the big dresser, again with the landscapes. It's notable that there is only one dresser and I don't think there was ever a second one in here, which seems a bit odd to me for two people who live together.

On into the bathroom! Sink, mirror, and small vanity straight ahead from the door; the shot is quick enough and the vanity cluttered so that all I get is an impression of various bath and beauty products, and a glimpse of the hand towel. Still not allowed to see the toilet, I guess. Biiiig walk in shower with sliding glass door. Some kind of storage thing just inside to the right on the wall, I would guess for towels and such. More towels on a towel bar on the far side of the shower and despite the size of both these rooms I cannot figure out where the other half of the upstairs went. Grumble sigh. And that, my dears, is all she wrote for this particular series.

For now.

No comments:

Post a Comment