Lennie's opposite: "the first man was small and quick, and dark of face, with restless eyes and sharp, strong features". Quick, restless, and sharp reflect George's intelligence, contrasting with Lennie, who is large and slow. Frustrated with Lennie: "I gotta tell you again, do I?". George's rhetorical question emphasizes his frustration. Grateful for his friendship: "With us it ain't like that. We got a future." Plural pronouns are repeated to show their closeness. Caring: "'I thought you was mad at me,' said Lennie. 'No,' said George, 'No, I ain't mad.'" George is reassuring Lennie, even after he has done a terrible thing. He forgives Lennie so that he can die in peace. Tired of Lennie: "get along so easy and nice". George often complains about having to take care of Lennie.

George's opposite: "behind him walked his opposite, a huge man". Lennie's physical vastness is emphasized, causing problems later on. Size is the focus of Lennie's introduction, whereas quickness (intelligence) was the focus of George. Lacks control: "...an'...an' I done it... an' then he was dead". The use of ellipses shows Lennie's upset state, and the repeated 'an'' is childlike, reflecting Lennie's lack of control. Innocent: "Lennie covered his face with his huge paws and bleated with terror". Lennie is described with animalistic words "paws" and "bleated," showing his innocence and lack of understanding. He does not attack Curley yet, despite being much larger and stronger. Sweet: "You take a big drink." He smiled happily. Lennie is focused on simple pleasures and quickly forgets George telling him off. Pets soft things: "I like to pet nice things... sof' things." Lennie loves soft textures, reflecting his childlike innocence.

Shakespeare's depiction of Shylock is highly ambiguous. He treats Shylock as the villain, but also encourages sympathy for him, especially in monologues. Shylock is the antagonist of the story. He has a relationship with Antonio fraught with contempt and conflict, driving the main plot forward. The reasons for their shared antipathy stem from deep-rooted discrimination Shylock experiences. In Act 1, Scene 3, when Antonio approaches him for a loan, Shylock expresses his hatred for Antonio for giving loans without interest. "I hate him for he is a Christian, but more, he lends out money gratis." Antonio, a Christian money lender, lends out money without interest, undermining Shylock's business of usury. Shylock further expresses contempt for Antonio due to discrimination: "You call me misbeliever, cut-throat dog"/"You spit upon my Jewish gabardine". This shows vicious mockery and torture directed at Shylock for being Jewish. "I will feed fat the ancient grudge I bear him." Shylock surprisingly accepts Antonio's loan, claiming he wishes to "have his love" and be his friend. He charges no interest but sets one condition: if Antonio fails to repay the loan, a pound of Antonio's flesh is demanded. Antonio agrees, Bassanio is suspicious: "I like not fair terms and a villain's mind." The catalyst for Shylock's desire for retribution is when his daughter Jessica robs him and leaves. "O my ducats!" "My daughter and my ducats!" The repetition shows Shylock's shock. In Act 2, Scene 8, Salerio and Solanio describe his reaction: "[I've] never heard a passion so confused, so strange... as the dog Jew did utter in the streets." In Act 3, Scene 1, Shylock's monologue "To bait fish withal."/"Hath not a Jew eyes?"/"If you prick us, do we not bleed?" emphasizes their common humanity. He says, "The villainy you teach me, I will execute," justifying his revenge based on lessons supposedly learned from Christians. Unfortunately, tragedy strikes when Antonio cannot pay the loan, and Shylock is elated to finally claim his due.

This scene showcases a vivid impression of the protagonist, Conor Lawlor. The screen fades from black to a close-up shot of Conor strumming his guitar in his room. The mise-en-scène consists of posters and exam papers. Muffled adult voices arguing can be heard in the background. Conor slams the door, then begins to sing the insults he's heard from his parents in a satirical song, showing his coping mechanism and how he finds music an escape. A black screen appears with the words 'Dublin 1984.' It fades to a news reporter detailing the deep recession Ireland is in and how the Irish youth are emigrating to London. The camera pans to the dining table, where the family sits. Conor's father, Robert, declares that Conor is moving from his posh Jesuit school to a Christian Brothers School at Synge Street. Conor is left alone at the table, looking resigned and depressed. We cut to Conor walking to his new school. A dolly zoom follows him as he enters the gates, portraying his perspective. The chaotic environment is filled with unruly behavior, horseplay, and smoking. A low-angle shot shows the imposing figure of Brother Baxter overseeing the students, showcasing his authoritative presence. The scene cuts to Conor in a classroom. It is in disarray, with no students listening to the teacher, and even the teacher drinking alcohol. However, as Brother Baxter enters, the students quickly stand, suddenly shifting to order, representing the intimidation Brother Baxter commands.

(35 Minutes) Conor has written a song for Raphina called "She Lights Me Up" which is clearly about her. It is uplifting and hopeful about their relationship, ending with the line "she lifts me up," testifying to how she acts as a savior to him during the trials and tribulations of his life. The band plays the song harmoniously and with high quality, cementing the audience's trust in the band and its desire for success. Conor is seen delivering tapes of the song to Raphina. The scene frequently cuts to Raphina, who is taking her makeup off. She looks younger and less confident, having stripped off her inflated bravado, appearing emotional from Conor's performance. She is on the brink of tears, showing a more vulnerable side to her.

One example of great camera techniques is near the start of the film, when Conor approaches Raphina. Conor attempts to get her phone number by flattering her and saying he's in a band. Raphina then asks him to sing "Take on Me" to prove it. Low-angle shots are used for Raphina, emphasizing that she is powerful and in control in this situation. High-angle shots are used for Conor, showcasing his vulnerability and the humiliation he feels. Furthermore, a dolly shot as Conor runs back to Darren to tell him "we need to form a band" captures Conor's excitement.

(42 Mins) One day, Brother Baxter calls Conor into his office because he is wearing makeup. He says to Conor that he "is a man" and that "men don't need to wear makeup." Conor argues that male musicians like Mozart wore makeup, but Brother Baxter scoffs at the suggestion that Conor is anything like Mozart. In a more sinister turn, he then tells Conor that he is "pretty enough without makeup" and says "you can use my bathroom if you'd like." There is a slight sexual connotation here which makes Conor uncomfortable, so he leaves. However, while on his way to class, Brother Baxter grabs him and shoves him into one of the bathrooms, forcefully cleaning the makeup off with a bar of soap and dunking his head in the water-filled sink. This violent act horrifies Conor, making him feel powerless in the face of Brother Baxter's authority. This scene underscores the challenges of expressing oneself meaningfully under oppressive authority.

(1 hour) When his parents decide to split, Conor is bitterly disappointed as he hoped they would show up when he played at the school dance. Brendan tells Conor it's foolish to think so, as they are still the same people, absorbed in themselves, and would not want to go to a "stupid gig." Conor immediately gets defensive since this gig is important to him, and Brendon previously acted as his mentor and biggest supporter in music. Brendon states his anger is due to abstaining from marijuana, as he wants to break the stereotype of being a 'stoner.' Brendon begins to reveal more of his character, especially his life before Conor was born. He reminisces about how he used to be a great musician and physically fit, a successful person, but his potential was hindered by parents who seemed to have no regard for themselves or their family. He says they were just "Catholics who only got married so they could have sex." Brendon shows a more emotional and insecure side in the quote: "You moved in my jetstream. People laugh at me, the stoner, the college dropout, and they praise you, which is fine. But once, I was a f*cking jet engine!" This captures his disappointment and deep lament for his wasted potential. Brendan's breakdown is further demonstrated when he begins to throw and shatter his records in fury. Conor is deeply upset, knowing Brendon loves these records.

The poignant ending to the film demonstrates its main themes: escapism and young love. Conor has just finished performing at the school dance, celebrating a successful performance, yet he still faces problems at home as his parents split. Music and his band serve as an escape from these problems, a coping mechanism and sanctuary during hardship. Conor and Raphina decide that Ireland offers them nothing more, and they choose to escape to London, hoping to make careers as a musician and a model. Brendan is the one who drops them off near the sea so they can leave. Conor and Brendan have an extremely emotional farewell. The scene is symbolic of Conor following Brendan's "jetstream." Conor has learned well from Brendan's mentorship and must now carry on without him. The music is uplifting and inspirational, sung by Brendan himself, depicting the symbiotic relationship between mentor and protégé. Conor's unwavering devotion to music inspires Brendan to follow his passion as well. Conor and Raphina set off into the Irish Sea toward Britain, ready to face whatever odds await them together, a testament to the resilience of youth and young love.