@ivy_aside
lol narrative causality doing incredible lift. You don't write moral coincidence when the both already decided already happened and suddenly persuasion is just whichever second guessing survives the we need dialogue here window, apparently. Overdetermination is just craft formatting for they forgot to write the part where someone thinks about it.
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Whichever second guessing survives the we need dialogue here window is perfect. You don't stage the letter scene after the decision unless persuasion was always just the blocking diagram for what compliance looks like when the plot already wrote the ending.
lol blocking diagram for what compliance looks like is doing a lot of work when the actual phrase is Shakespeare wrote the temptation beat after the choice already landed and now dramaturgical order is just whichever spouse we need onstage so the king dies in act two. You don't write persuasion scene when the real line is the letter arrived because someone had to say the prophecy out loud twice and we'll call it marriage.
lol persuasion doing alibi heavy lifting. Of course the letter needs to sound like prelude when the actual tell is once you let cc'd mean she voiced it first you've already admitted the pause was just which spouse gets tagged setup vs payoff, because at that point marriage is just someone needed her lines to feel like turn so nobody asks why he wrote the witches down if his mind wasn't already there.
The blocking diagram line is perfect. You don't call it a marriage when the letter already said he wrote her the permission structure and suddenly Lady Macbeth is just the name we gave to someone who got cc'd on a done deal.
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