History IdiotPlot / Theatre

2nd Nov '16 12:46:07 AM BlakeneyGreen
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** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involved even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard. The plan works about as well as you'd expect.

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** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involved even float the possibility of attempting trying it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard. The plan works about as well as you'd expect.
2nd Nov '16 12:45:02 AM BlakeneyGreen
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** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involve even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard. The plan works about as well as you'd expect.

to:

** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involve involved even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard. The plan works about as well as you'd expect.
2nd Nov '16 12:39:42 AM BlakeneyGreen
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** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involve even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard.

to:

** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involve even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard. The plan works about as well as you'd expect.
5th Oct '16 9:06:08 PM Game_Fan
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** ''Theatre/PericlesPrinceOfTyre'' has not just the stupidest plot of any Shakespeare play but ranks among the most inexplicable plots ever. A major plot point involves Thaliard the assassin learning that Pericles has gotten onto a boat and immediately concluding that he's dead. And then he shows up in the city Pericles fled to and completely fails to recognize him even as he introduces him to the king. And then he's never seen again.
3rd Oct '16 10:54:22 PM BlakeneyGreen
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** Why does Raoul think it's a good idea to set up the final confrontation with the Phantom inside the opera house - which since it is the Phantom's home, he knows all the nooks and crannies of, has very likely rigged with traps, and has a ton of places to hide - rather than attempting to lure him onto neutral ground? Granted, luring him out might not have worked, but none of the characters involve even float the possibility of attempting it. Furthermore, they plan out the whole thing during a conversation that takes place ''inside the opera house'' even though the Phantom has already demonstrated he is very aware of pretty much everything that goes on there and has means of listening to conversations. It doesn't seem to occur to anyone to suggest they go talk somewhere else to prevent being overheard.
12th Sep '16 6:36:44 AM Prfnoff
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*** This is addressed in ''O'', the modern-day high school adaptation of the play. In it, Dessie does guess that O is questioning her faithfulness when he accuses her of losing his scarf and calls him out on it, saying that she'll leave him if he ever accuses her of cheating again. This does convince him to trust her... until Hugo (the Iago character) starts playing more mind games and making him doubt.

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*** This is addressed in ''O'', ''Film/{{O}}'', the modern-day high school adaptation of the play. In it, Dessie does guess that O is questioning her faithfulness when he accuses her of losing his scarf and calls him out on it, saying that she'll leave him if he ever accuses her of cheating again. This does convince him to trust her... until Hugo (the Iago character) starts playing more mind games and making him doubt.
22nd May '16 3:27:47 PM SorPepita
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*** This is addressed in ''O'', the modern-day high school adaptation of the play. In it, Dessie does guess that O is questioning her faithfulness when he accuses her of losing his scarf and calls him out on it, saying that she'll leave him if he ever accuses her of cheating again. This does convince him to trust her...until Hugo (the Iago character) starts playing more mind games and making him doubt.

to:

*** This is addressed in ''O'', the modern-day high school adaptation of the play. In it, Dessie does guess that O is questioning her faithfulness when he accuses her of losing his scarf and calls him out on it, saying that she'll leave him if he ever accuses her of cheating again. This does convince him to trust her... until Hugo (the Iago character) starts playing more mind games and making him doubt.
16th Dec '15 6:55:30 AM Prfnoff
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* In ''Theatre/SheLovesMe'', it's only in the last two minutes that Amalia finds out that Georg is the same person as "Dear Friend." If she had realized this earlier, the plot might have wrapped considerably sooner.

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* In ''Theatre/SheLovesMe'', it's only in the last two minutes that Amalia finds out that Georg is the same person as "Dear Friend." If she had realized this earlier, the plot might have wrapped considerably sooner. Of course, Georg deserves a share of the blame for having wrongheadedly jumped to the conclusion at the Cafe Imperiale that Amalia couldn't possibly be his blind date.
16th Dec '15 6:49:39 AM Prfnoff
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* In ''Theatre/SheLovesMe'', it's only in the last two minutes that Amalia finds out that Georg is the same person as "Dear Friend." If she had realized this earlier, the plot might have wrapped considerably sooner.
25th Nov '15 5:47:06 AM Morgenthaler
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** ''Theatre/LoveNeverDies'' is even worse. For starters, nobody thought to tell Gustave "Listen, that guy in the mask? He's very, ''very'' dangerous, he's killed two people that we know about, he tried to kill your father, and if he gets his hands on you he'll hurt you or use you to hurt your parents. So stay close to us at all times and whatever you do, don't go wandering off with the creepy carnival folk, okay?"

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** * ''Theatre/LoveNeverDies'' is even worse. For starters, nobody thought to tell Gustave "Listen, that guy in the mask? He's very, ''very'' dangerous, he's killed two people that we know about, he tried to kill your father, and if he gets his hands on you he'll hurt you or use you to hurt your parents. So stay close to us at all times and whatever you do, don't go wandering off with the creepy carnival folk, okay?"
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http://tvtropes.org/pmwiki/article_history.php?article=IdiotPlot.Theatre