This conveniently eliminates having to move walls and furniture each time there’s a new scene.įor instance, in Hyde and Prejudice (which I co-wrote with Jamie Dare), the stage left and stage right facades are exterior scenes whereas the center is the interior drawing room with upstage windows. Many of my scripts employ a three-piece stationery layout in which only a third of the stage is lit at one time. My own approach to theatrical design is to create a color snapshot of what the actual set looks like. Depending on the budget of the production company, this sometimes extended to dioramas and models worthy of Doc Brown ( Back to the Future) in which small dolls or even chess pieces could be moved around to facilitate staging. To that end, my novels and theatrical works often begin with a floorplan and 3D screenshots of the settings my players will call home.įor plays in particular, this harkens back to the days when directors relied on rudimentary set designs that showed where the doors, windows and furniture should be placed. Suffice it to say, I’ve not only been gifting friends with dream houses suited to their lifestyles but have also discovered just how much influence a fictional character’s abode has on his/her personality. When I shared my love of home design with my beloved husband, he immediately went out and bought me an amazing architectural design software program. Had I been encouraged at a young age to pursue my love of architecture, I’d likely have done so professionally and designed all manner of clever houses with secret rooms, trap doors, Escher staircases, stained glass windows, widows’ walks, labyrinth wine cellars, French doors, high ceilings, gourmet kitchens, copious closets. Plus, it also forces the directors to be more creative with their staging, and that's infinitely better than what happens in other Netflix shows which force (often shoddy) CGI to do all the heavy lifting.How to Use Architecture in World-Building When special effects are used, they're done so sparingly, which makes them far more impactful without stretching that presumably tight budget too far. Each stunning, globe-spanning location feels rooted in the real world, and that's pretty refreshing at a time when CGI sound stages reign supreme. The Bastard Son & The Devil Himself is also pretty sexy in more broad visual terms too. They're integral to the story and ring true for each character. These scenes aren't just included to be adult or – urgh – "edgy". To say much more would spoil some of the twists and turns that this trio will face, but what's key is that every kiss or stolen glance or even cheeky bang means something here. Titans star's new Netflix fantasy drops trailerīecause it's from this point on that the show delves into (often queer) lust and attraction, weaving physical longing into the mix. You'll know it when you see it.īut it's not all just "truly f**ked up" shenanigans, and that's thanks in large part to a warm, surprisingly witty script that channels quality teen shows far more than their fantasy brethren. After years of fireballs, invisibility cloaks and other generic nonsense, The Bastard Son & The Devil Himself eschews cliché in favour of potion trickery, steam kettle possession, and one truly vile "gift" that will make some viewers retch. The way magic works in this world is also pretty grim, and we mean that in the best way possible. Annalise, the daughter of a key figure in the Fairborn Council, represents his one light in the darkness, but she too soon realises that things are far worse than they ever seemed. Nathan's life is instead harrowing from the get-go, and it only gets worse as various forces all try to take a piece of him for themselves. There are no magical owls or tedious love triangles to be found here. So instead, The Bastard Son & The Devil Himself goes out of its way to avoid the cutesy trappings of this genre.įirst look at The Bastard Son & The Devil Himself So far, so generic, but showrunner Joe Barton, the mastermind behind shows as diverse as Giri/Haji and The Lazarus Project, wouldn't create something that basic. Unfairly hated by everyone through a circumstance of birth, Jay Lycurgo's protagonist is caught in the middle of a war between two feuding witch clans who believe he's the key to a prophecy that could change everything. That baby would undoubtedly need therapy though, and the same is absolutely true of Nathan Byrn, the star of this story. Imagine if Skins, Misfits, and Sex Education had a baby raised on fantasy literature, and that's pretty much what you've got here. Based on Sally Green's YA trilogy Half Bad, Joe Barton's adaptation plays fast and loose with the source material, subverting the generic fantasy tropes we so often see in these shows with something far more intense and grounded in the real world.
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