Entertainment
Explaining Hollywood: How to get a job as a music supervisor

Nobody says a phrase within the opening sequence of “The Sopranos,” however you’d by no means assume to observe it with the hold forth.
It’s not that the vistas of business and working-class New Jersey are notably evocative. It’s the music that performs as mobster Tony Soprano drives via them — Alabama 3’s “Woke Up This Morning,” a propulsive, bluesy quantity about loss and unfulfilled promise — that transforms the sequence into one thing tense and menacing, hinting on the violence that can finally erupt on display screen.
The crew member who’s liable for marrying the appropriate recorded music to scenes in a movie or TV present is known as the music supervisor. Most tasks even have a composer who handles the musical rating written for them. The music supervisor and the composer, together with different prime creatives on a challenge, resolve which scenes can have recorded songs, authentic music or each.
But the artistic facet is only one a part of the music supervisor’s job. Supervisors even have to ensure the manufacturing has permission to make use of the music that’s taking part in, whether or not it’s a full music or only a snippet heard within the background when a personality walks via a room.
Additionally they need to cope with last-minute modifications and hard deadlines. Oh, and sure, they’ll need to attempt to please the a number of folks — producers, showrunners, administrators, editors, writers — who’ve concepts for which songs ought to play when.
“Everybody who works on the film is aware of two issues,” says music supervisor George Drakoulias. “They know the best way to do their job, and so they know what the music must be — as a result of everybody has a visceral response to music.”
To seek out out which types of individuals change into music supervisors and the way they get these jobs, The Occasions talked to Drakoulias and 6 different present and former music supervisors — Gary Calamar, Thomas Golubić, Jen Malone, Morgan Rhodes, Robin Urdang and Dan Carlin — in addition to Dan Koplowitz and Danny Benair, two “sync brokers” who attempt to get their shoppers’ songs positioned in movies, TV exhibits, commercials and video video games. Right here’s what they needed to say.
Who turns into a music supervisor?
One factor that a lot of the professionals interviewed have in widespread is a historical past in or across the music business. That displays a typical, deep-seated love of music.
Drakoulias nonetheless produces data. Calamar, Golubić and Rhodes are present or former DJs at KCRW-FM. Malone was a publicist for storage rock bands in Boston. Urdang labored for the vocal group Manhattan Switch. Koplowitz ran a report label. Benair performed drums for indie bands, together with the Fast and the Three O’Clock.
However when requested what pursuits or abilities makes an individual match for this job, they began by rattling off a lot of extra sensible qualities that characterize a music supervisor.
They’re extremely organized, detail-oriented and able to managing the movement of plenty of data, as a result of they could be engaged on a number of tasks on the similar time.
They’re diplomatic, expert at studying a room and forming consensus, as a result of the songs need to work not for them, however for the folks in control of the storytelling. Half joking, Urdang put it this manner: “It’s important to have a minor or a significant in psychology, as a result of it’s so political. You might have to have the ability to learn and take care of plenty of personalities.”
Bear in mind, a music supervisor can’t simply dictate a present’s soundtrack as if it have been a Spotify playlist. “Our job is to not choose the music,” Malone mentioned. “Our job is to produce choices, given the artistic course from the showrunners.”
The method will be “type of heartbreaking,” Calamar mentioned. “Generally I’ll are available in with a music that I believe is so excellent, and I can’t consider I’ve nailed it. And so they’ll say, ‘That’s fairly good. What else you bought?’”
They like to do analysis, as a result of they’re known as on to recommend songs from throughout the panorama of occasions, genres and areas. They might additionally like being forward of the curve and unearthing little-known gems. “To me, that’s probably the most thrilling half,” Rhodes mentioned. “And searching for the music is typically extra enjoyable to me than discovering it.”
They’re one thing of a detective too, as a result of they’ve to trace down the songwriters, usually represented by music publishers, and recording artists (or their report labels) who maintain the copyrights to the songs their challenge desires to make use of. Older tracks could belong to rights holders who’ve fallen off the grid. Newer tracks could embody samples, or snippets of earlier recordings, and every snippet must be cleared as nicely.
For assistance on that entrance, supervisors can draw on the experience of individuals like Koplowitz and Benair who characterize massive teams of copyright holders. “What we do and what music supervisors do, it’s a deeply symbiotic relationship,” Koplowitz mentioned.
They’re adept at negotiating and understanding contracts, as a result of they’ve solely a lot cash to spend on licensing. “A rights holder can say no for any cause,” mentioned Koplowitz, who runs Pleasant Hearth Licensing. “The rationale doesn’t need to be one. They will say no as a result of it’s not sufficient cash. They will say no as a result of it’s not search for them.”
There are numerous other ways a music can be utilized in a challenge, and there’s no value listing — “It’s all negotiable,” Calamar mentioned.
Typically talking, the larger the artist and the extra distinguished the use, the upper the charge shall be.
For instance, Drakoulias mentioned, you could have a tiny music finances for an indie movie however the director actually desires to make use of a Rolling Stones music. So you need to assume creatively about what you possibly can supply as compensation. “First, you go to the Rolling Stones [and ask], ‘How would you prefer to personal a bit of a heartbreaking indie coming-of-age drama that has your songs?’”
They’re additionally good at serving to folks translate their musical concepts into phrases. “Generally administrators want somebody to assist them clarify what they’re listening to or not listening to,” Drakoulias mentioned. “If somebody says, ‘I would like it extra purple,’ you could have to have the ability to work out what which means.”
And at last, they keep calm beneath the stress of manufacturing deadlines, as a result of songs can fall via on the final minute and so they need to scramble to exchange them.
Sure, having good style in music issues, the professionals mentioned, however style is subjective. Extra necessary is realizing many various kinds of music, being acquainted with labels and music publishers, and having an open thoughts. And moreover, as Malone put it, “You may have the very best style in music in the complete world, however in the event you can’t clear these songs, you possibly can’t use them.”
How do you get began?
The excellent news is that there are such a lot of hours of TV exhibits and movies being made as of late that the demand for music supervision is gigantic.
To develop the required abilities, you could have a number of choices. Some schools and movie colleges supply lessons in music supervision taught by people who find themselves energetic within the area (Malone, as an illustration, took a category at UCLA Extension taught by Golubić). That’s a method to be taught key points of the job and make connections.
One other path is to intern for a music supervisor or for a studio or label govt who works with supervisors. Some internships can be found via faculty movie applications, the place you’ll earn credit towards a level however presumably no pay. Others are supplied by freelance supervisors who need to prepare the following technology and will use the assistance.
“When folks work for me, it’s hands-on. They’re seeing and studying all the things,” Urdang mentioned. “I would like them to be taught. I would like the following group of music supervisors to succeed.”
One method to hear about internships is to hitch or volunteer on the Guild of Music Supervisors, a corporation that Calamar, Golubić and Urdang helped to determine with the intention to elevate the career’s profile, enhance collaboration, honor distinctive work and “put out a ladder of alternative,” Golubić mentioned. The guild affords DIY coaching supplies and networking alternatives, which is an effective method to discover the supervisors searching for assist.
The guild can also be attempting to assist the career diversify, launching a mentorship program final yr, although it hasn’t introduced a brand new spherical of openings but. It has additionally been holding occasions in East Los Angeles and South L.A., Golubić mentioned, selling the career to individuals who “didn’t comprehend it was an possibility” for them.
Drakoulias instructed a further risk for would-be supervisors nonetheless at school. “I’d simply type of gravitate towards the filmmakers in your class and supply to work on their films,” educating your self about copyrights and licenses within the course of, he mentioned. “Should you love music and you’re keen on movies, make your self obtainable to people who find themselves doing it.”
This being the leisure business, the relationships you make would be the keys that open doorways for you. Many of the supervisors interviewed spoke of mentors they’d discovered who taught them the ins and outs of clearing songs, managing budgets and navigating a manufacturing’s egos.
What are the profession paths?
There are two rungs on the ladder beneath music supervisor — assistant music supervisor and music coordinator — that you could be discover on larger-budget productions. In accordance with Golubić, an assistant music supervisor supplies help whereas gaining expertise and studying the ropes. A music coordinator is able to performing most of the supervisor’s capabilities, he mentioned, however isn’t prepared to guide the conversations concerning the decisions being made.
Then there are the roles that concentrate on only a portion of the music supervisor’s work. There are music consultants who specialize within the artistic points of the job — for instance, serving to filmmakers make their music decisions traditionally correct. And there are individuals who specialise in acquiring licenses to the songs.
Past that, some supervisors choose to depart the freelance world in favor of a job at a Hollywood studio, overseeing music budgets for his or her productions, amongst different duties. Or they be a part of a report label or a sync company, working to get songs positioned in movies. Or they take a music supervising submit at an organization that produces trailers for films and TV collection. And a few shift into movie or TV manufacturing.
“I believe the monetary instability of the job of music supervision leads many individuals to basically view it as a pathway to elsewhere,” Golubić mentioned.
How do you generate profits? (And what sort of cash?)
There isn’t any hourly or weekly pay scale as a result of there isn’t a union, though some guild members have talked of attempting to type one. Nor do supervisors earn residuals or royalties.
As an alternative, they obtain a flat charge per episode or per movie. Should you’re on a shoot for a yr, Urdang mentioned, the charge quantities to a few hundred {dollars} per week.
“What you receives a commission is knowledgeable by the finances for both the present or the movie,” Rhodes mentioned. “That can differ. Some movies which can be indie have very small budgets, and that will affect your charge.”
“If you wish to make a dwelling at this,” Calamar mentioned, “you need to have a number of tasks going on the similar time, which may make you a little bit bit loopy.” Folks simply beginning out “ought to positively have a backup plan and a few aspect hustles, as a result of there are some quiet durations.”
Urdang agreed, saying, “I’m used to it and I can deal with 5 tasks at a time or six, however in the event you’ve simply began out, you possibly can’t.”
How is that this profession completely different than it was 10 or 25 years in the past?
The flip aspect of the explosion in content material and alternatives attributable to the rise in streaming video is that there are much more music supervisors competing for work. “I typically say it’s tougher to get the job than to do the job,” Calamar mentioned. “Regardless that I’ve had some success through the years, I’m nonetheless hustling.”
In the meantime, streaming music companies have vastly simplified the duty of researching songs. Within the previous days, Golubić mentioned, he must observe down bodily copies of the data put out by the artists he thought is likely to be acceptable for a challenge. Now, “I can do an web search … and doubtlessly discover some fascinating choices, and doubtlessly discover the individuals who can license them to me, in half an hour.”
Music publishers are far simpler to seek out too. In pre-internet days, Urdang mentioned, you’d need to get the writer data from ASCAP and BMI, the 2 largest efficiency rights organizations, whose telephones have been all the time busy. And whenever you lastly obtained via, she mentioned, you would ask for less than three songs at a time. “I needed to rent folks simply to attend on the telephone line.”
What recommendation do professionals all the time hear that’s improper?
“Be dogged and protracted is, to me, a horrible piece of recommendation,” Golubić mentioned. He drew a brilliant line between going to nice lengths to seek out rights holders and badgering them if they refuse to license their tracks. “A well mannered no,” he mentioned, “is a transparent no.”
One other unhealthy approach, he mentioned, is to ship in each doubtlessly usable music and let different folks work out what works. “If someone values my time, I worth their time,” he mentioned.
Malone mentioned it’s a nasty concept to “simply make cool playlists” and anticipate issues to come back to you. “It’s important to need it, and you need to work out a method to get it,” she mentioned. “That goes for clearing a music or getting a gig.”
Generally a brand new producer, showrunner or director will contend that rights holders will license their songs for peanuts “as a result of the publicity will assist the artist greater than cash,” Calamar mentioned. “That’s simply old-time considering.” Or as Koplowitz wryly put it, “You may die from publicity. Nobody is asking the craft companies crew or the digital camera crew to donate their work without spending a dime.”
What’s some good recommendation?
People who find themselves simply beginning out “ought to know that it’s actually not simply choosing songs” that match their style, Urdang mentioned. “It’s having a data of what works in a scene and why, and understanding what it’s the director is attempting to say, what you need the viewers to really feel.”
Talking for a lot of of her colleagues, Rhodes suggested would-be supervisors, “Be taught clearance. Should you like a music, begin wanting up who wrote that music. Who’s obtained the publishing?”
Urdang tells the cautionary story of how she spent lower than her finances through the first season of “Burn Discover,” solely to have her finances reduce for Season 2. “Don’t are available in beneath finances,” she mentioned. “It doesn’t do any good for anyone.”
“You’re by no means going to make it in the event you’re not keen about it,” Urdang warned. “As a result of it’s plenty of exhausting work. And it’s plenty of politics. It’s important to please lots of people. … It’s important to be open. You may’t take issues personally. You may’t have an ego.”
Drakoulias supplied one final professional tip: Don’t promise you will get a music by the Beatles.

Movie Reviews
Finally Dawn (2025) Movie Review: Fellinie-esque excess and coming-of-age meet the hollowness of Hollywood

You’ve seen this before. A young, unassuming person suddenly gets thrust into the Hollywood limelight as they realize the vanity and hollowness of all the glitter. Saverio Costanzo, who you may know from HBO’s beloved Italian drama “My Brilliant Friend,” is no stranger to the 1950s. “Finalmente l’alba (Finally Dawn)”, which is set in the same period and features an ensemble Hollywood cast, evokes a singular time in Italian movie history when Cinecitta (one of the prominent studios of the time) was known for hosting lavish, sword-and-sandals epics like Ben-Hur.
The young person in question here is Mimosa (Rebecca Antonaci), a doe-eyed movie lover whose love for the medium is quickly established as she, her mother, and a more conventionally attractive older sister Iris (Sofia Panizzi) come out of the latest War movie playing in their local theatre in Rome. As they exit the theatre, discussing the obsession of new-age directors with the futility of the war that they have just suffered, a crew member from Cinecitta spots Iris and invites her to audition for the latest epic about a female pharoah (a sort of Cleopatra parody on first look) played by Josephine (is played by Lily James in the movie). Now, Mimosa just tags along with her sister, but is quickly spotted by Josephine in a corridor and is offered one of the bigger roles in the film.
Now, “Finally Dawn” thereby turns into an endless loop of excess that the American actors and their consequent Italian hosts go on. Much like “La Dolce Vita,” the excess uncovers the hidden hollowness of the world of movie stars that Mimosa so dearly adores from a distance. We quietly follow her footsteps once the shot of the day is captured. However, the film’s more surreal edges keep pushing it further away from making a point.

James’ diva-like rendition of Josphine feels melodramatic to a point where you either feel nothing towards her, or you simply follow along. Her reasons for inviting Mimosa to tag along with them stem from some deep-seated insecurities and personal demons, but the film is never able to establish any of that. Making Josphie feel like a centre-piece that is given more attention than it rightfully needs, even in the movie-within-the-movie scenario.
I mean, it is quite right to establish Mimosa’s moral standpoint, who doesn’t accept being naked for her shot, but then the film also opens up the tragic death of Wilma Montesi — a real-life incident where an extra on a movie set was found dead on the beach; but never does anything about it except using it symbolically. Director Costanzo has said that he wanted to make the movie because of Wilma’s story, and while he is able to draw parallels through Mimosa’s coming-of-age, using Wilma’s story like that felt a bit exploitative to me.
The film also features an ensemble cast, including Joe Keery, Rachel Sennott, Alba Rohrwacher, and Willem Dafoe, but none of them feel like characters who bring something substantial to the table. It also doesn’t help that newcomer Rebecca Antonaci, who has a remarkable screen time, doesn’t evoke the kind of emotional connection the director is going for. Her character, although essential to the film’s proceedings, feels nudged down by the script’s many meandering tendencies.
Eventually, beyond the great production design that quietly brings back the 1950s and some smashing costume work, “Finally Dawn” is unable to elicit anything particularly interesting for the audience to pay heed to. The lion, for instance, is used as a broad metaphor, but much like its existence within the context of the film itself, the metaphor falls flat, and Mimosa’s story; instantly forgettable.
Read More: 20 Best Films from Italian Neorealism
Finally Dawn (2025) Movie Links: IMDb, Rotten Tomatoes, Letterboxd
Finally Dawn (2025) Movie Cast: Lily James, Rebecca Antonaci, Joe Keery, Rachel Sennott, Alba Rohrwacher, Willem Dafoe, Sofia Panizzi
Entertainment
Essay: ‘Love Island USA’ crowned its first Latino couple. Here's why that matters

We won! Or, at least those of us who were rooting for Amaya Espinal and Bryan Arenales to take home the prize on Season 7 of “Love Island USA.”
After a blockbuster season with its fair share of controversy, the 25-year-old nurse from New York City and the 28-year-old accountant, bartender and real estate agent from Boston, respectively, walked out of the villa $100,000 richer and became the first Latino couple to win “Love Island.” In a time when many Latinos in the U.S. are being inundated with threats to our safety and freedom, this example of a mutual, fun and respectful Latino love is an indulgent little triumph for us all.
The dating show became appointment viewing for millions of fans, including myself, with new episodes dropping almost nightly as the show airs in near real time. “Love Island” — which launched in the U.K. in 2015 and has since spawned several international versions — confines single hotties in a Fijian villa, where they must explore romantic connections and couple up with each other to remain on the show. Viewers and cast members known as “islanders” vote regularly to decide which contestants or couples must pack up their swimsuits and go home. As with most reality TV, there’s messiness, drama, silliness and sexiness that keeps viewers glued to their screens, and we clock in for our shift at the island mines with dedication.
Espinal, a self-described “Dominican Cinderella,” entered the villa as a “bombshell,” a cast addition meant to stir things up for the original couples. Meanwhile, her Prince Charming, Arenales, who is Puerto Rican and Guatemalan, came in during the Casa Amor segment of the show, when islanders are separated by gender and introduced to hot new cast members vying for their attention.
The two coupled up several episodes after meeting in Casa Amor, igniting a romance in large part over a shared understanding of their cultures. Being super hot probably didn’t hurt either, but it was seeing Arenales stand up for our sweet Amaya Papaya against a pile-on from his fellow male islanders that sealed the deal — not just for Espinal, but for the viewers, in particular Latinx ones.
Espinal’s rough start on the series reflected the cultural valleys that exist between Latinos and their non-Latino counterparts in the United States, which can generally make for a tricky dating experience. Three of the male contestants she coupled up with expressed discomfort with her personality and bold manner of expressing herself. It started with a blowup with contestant Ace Greene after he vocalized his discomfort with Espinal touching him and using terms of endearment, in particular the word “babe.”
The same issue came up when she coupled up with Austin Shepard and Zak Srakaew, who took issue with Espinal “moving too fast” by acting overly romantic (on a show called “Love Island,” mind you). This was despite her explaining that in Dominican culture terms like “mi vida,” “mi amor” and “babe” are common terms of endearment, and asking if it was OK that she use them. (Both agreed it was fine.)
Espinal certainly lost her cool — in most cases, I would argue, rightfully so — and regularly became emotional, struggling with feeling misunderstood and attacked. Still, she defended herself with confidence and strength from those who seemed intent on painting her as erratic, intense, pushy and aggressive. During a game in which islanders wrote letters to air out any grievances, she offered them a simple option: “I’m just not your cup of tea to be drinkin’, so don’t f—ing drink it.”
It was during that game in which Greene, Shepard and Srakaew went in on Espinal that Arenales stepped in to defend her, explaining what Espinal had long been saying: Those terms of endearment are common in Latino households. “You’re telling her to meet you halfway,” he said. “You gotta meet her halfway too.”
Arenales gallantly stepping up to support Espinal against a social firing squad sparked a flame between the two. Fan votes showed this moment to be a turning point for Espinal, who became a favorite. It doesn’t hurt that her nurturing personality and adorable zaniness make her very easy to root for.
Seeing Arenales voice his appreciation for who she is and understanding her background — and Espinal herself refusing to change parts of her personality that she views as the strengths of an “emotional gangsta” — made their coupling a powerful display of Latino love. Those two crazy kids just get each other!
“This is just a message to everyone out there who’s misunderstood: Nobody should be tamed and there’s always someone out there for you who’s going to love you for you and appreciate all your craziness,” Espinal told host Ariana Madix after their win was announced. “Don’t ever settle for nobody.”
This was an especially lovely and important win after this season was marred by a racism scandal in which two Latina islanders were found to have used racial slurs online and in a podcast.
As much as Espinal may have felt misunderstood, Espinal is not a difficult person. There’s no need to decipher her because it’s not that complicated, regardless of her cultural identity. From everything I saw on the show, she showed a tremendous amount of character and kindness. She just didn’t put up with B.S. from guys who were trying to diminish her, call her irrational and insinuate she was clingy. Amaya Papaya always stood on business.
I love that Espinal found someone who sees and appreciates her in Arenales. And judging by their win, she found that in innumerable people who voted for them as well. But there’s nothing anyone should struggle to understand about her.
Yes, parts of her behavior are informed by her culture — but yelling at a man who is trying to make you seem crazy is a universal experience we should all partake in.
Movie Reviews
‘The Scout’ Review: Modest but Accomplished Debut Brings a New York Location Scout’s Routines to Lovely, Low-Key Life

On paper, Sofia (Mimi Davila), the protagonist of Paula Andrea González-Nasser’s mellow debut The Scout, has an enviable job. She spends her days driving through New York, taking photos of building exteriors, cozy apartments and eclectic shops in service of her director’s vision. Sofia is a location scout, an occupation that conjures romantic images of one’s relationship to space.
The truth is that Sofia’s job can be taxing, and in The Scout, which premiered in June at the Tribeca Film Festival, González-Nasser, who was herself a location scout for six years, crafts a modest portrait of its complicated reality. The director reveals how location scouting involves an emotional deftness, a stultifying deference to a director’s vision and lots of patience. Sofia deploys these tools to broker deals between her team and the people from whom they want things. She must act with the urgency demanded by her bosses and be sensitive to the fact that these locations are homes to real people whose memories live in the furniture and on the walls. Often subsumed by other people’s needs and narratives, Sofia struggles to not become a background character in her own story.
The Scout
The Bottom Line
A discreet and confident debut.
Venue: Tribeca Film Festival (U.S. Narrative Competition)
Cast: Mimi Davila, Rutanya Alda, Max Rosen, Ikechukwu Ufomadu, Sarah Herrman
Director-screenwriter: Paula González-Nasser
1 hour 29 minutes
Working from a screenplay she wrote, Gonzàlez-Nasser structures The Scout around discrete interactions Sofia has throughout the day. The film confidently highlights the delicate relationship between people and their spaces, while also acknowledging the understated harshness of a job that requires you to assess, with a certain degree of remove, one of the more intimate elements of another person’s life. Parts of The Scout, in its contemplative tone and observational style, reminded me of Perfect Days. Like Wim Wenders’ poignant study of a middle-aged janitor’s routines in Tokyo, The Scout could find success in arthouse theaters and on the festival circuit.
When we meet Sofia, she is asleep in her own space — a compact, well-lit apartment somewhere in New York. The room resembles the dwellings of so many young people living in the expensive and bustling city. There’s the starkness of the walls, painted an impersonal white, and the minor touches — a standing fan, a gold framed mirror, a small drawing affixed to the wall — that suggest signs of a real life. Following this moment, the young location scout will almost exclusively occupy the shops and homes of other people.
Each space offers an opportunity for Sofia to remake herself. The transformations are subtle; the location scout tweaks her personality just enough to connect with the person living in the space so that they might be more amenable to letting a random crew of people take it over. Sometimes, as with an older woman (Rutanya Alda) who tells Sofia about her son who moved to London and rarely visits, the interactions are sweet and revelatory. It’s clear that Sofia’s presence — her kind eyes and encouraging responses — doubles as an invitation for lonelier people to share parts of their life with her. Other times, as with the pet shop owner (Matt Barats) who asks her to dinner or a father (Max Rosen) who follows her around the house with an air of menace, the encounters are fraught and a touch scary. Yet rarely does Sofia lose her cool.
The young woman, played with a quiet conviction by Davila (Problemista), navigates each situation with an understanding that her role in these people’s lives is merely temporary. Her approach differs from that of her colleagues, who barge into these homes with no consideration and much fanfare. They appraise each space with a callous indifference toward who lives there, commenting on ugly doors and unimpressive heirlooms.
Other elements of The Scout reinforce our sense of this transient atmosphere. Cinematographer Nicola Newton shoots each location — whether its Sofia’s room or a brownstone in Brooklyn — with the kind of attention reserved for places you know you’ll never return to. A spare score (composed by Dan Arnés) and the familiar melodies of a cityscape (birds chirping, engines running) soundtrack Sofia’s experiences.
Despite their meditative loveliness, low-key projects like The Scout can leave something to be desired in terms of narrative. The lure of a story built on vignettes can shortchange its principal characters and the constellation of supporting ones. As Sofia floats from one home to the next, I wondered about the texture of her life. Gonzàlez-Nasser offers some clues through an interaction between Sofia and her old friend Becca (Otmara Morrero), whose gorgeous apartment has been unexpectedly included on the list of the scout’s locations. Their reunion is brief but laden with the weight of history. Conversations about mutual friends and retired dreams are revealing of Sofia’s aspirations; Becca remarks on how Sofia always wanted to be behind the camera and how she, in a way, is a photographer now. The scout doesn’t completely agree and the ensuing silence suggests a history of compromise.
It also exposes a pattern in Sofia’s earlier interactions, underscoring how much the scout almost disappears into each story. When she finally has a moment of self-assertion, in a quiet moment on the beach, it’s a triumph I wish had come sooner.
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