#pellani

Post One: Introduction

Post Two: New York, Pre-Tragedy

Post Three: The Couch Scenes

Post Four: The Journey to Hårga

Post Five: Arrival in Hårga

Post Six: Dani’s Birthday Plot

Post Seven: Making Dani at Home

Post Eight: Ättestupa

Post Nine: “Do You Feel Held By Him?”

Post Ten: Plots

Post Eleven: The May Queen

Post Twelve: Runes

FURTHER ANALYSIS POSTS:

Can we spare some appreciation for how Florence Pugh is styled in Midsommar?

Okay, I just noticed something about the costuming in Midsommar…

An Obsessive Midsommar Scene Analysis, or, I Need Help

Another obsessive Midsommar scene analysis: Arrival in Hårga

“What happens at 72?”: Pelle’s throat-cut “joke”

But Why Didn’t Pelle Get Sacrificed?

The last lap of the film is the culmination of two separate tracks: one, Dani breaking with Christian, coming to terms with her grief, and sloughing off her old life, and two, Dani being embraced by her new family and, with that final, slightly-mad smile, finding joy with them. Much as in the “Do you feel held by him?” scene, Ari masterfully keeps the final scenes of Midsommar walking that tightrope between validating the Pelle/Dani romance and minimizing it in order to center Dani’s broader character arc and story, and to that end, he doesn’t even wobble. Still, he can’t get out of this without some explicit (though not explicit) mushy stuff for the OTP, and that, of course, is why we’re here.

We already mentioned the dance competition in the context of Pelle and Team Hårga winnowing Christian real good so he can be Maja’s baby daddy, but this is yet another opportunity for Pelle to demonstrate to Dani the contrast between him and Christian. As Dani begins to dance, Pelle is right up front, attentively, patiently, smilingly watching. She has every bit of his attention and support. Meanwhile, Christian stumbles into the audience late, burdened and internally roiling after his meeting with Siv. 

Now, we don’t know how Christian ultimately answered the Matriarch when she asked if he would mate with Maja. Ari, the imp, cuts away. Not to taint our favorite scene with comparison, but very like Dani’s protests in “Do you feel held by him?” Christian’s evasions, more pronounced in the Director’s Cut (“I’m here with somebody,” “We haven’t even talked.”) are frail, toothless things against the truth joined with temptation. He doesn’t love Dani. And he does want Maja. By the time he comes to watch the dance competition, Dani dancing is the furthest thing from Christian’s mind, even though betraying her is the crux of his dilemma.

And do please remember that Siv proposes this ritual snuggling to Christian as something Dani will not know about, so he really is contemplating betraying her, as opposed to what Pelle suggests to Dani. 

This is the contrast that waits for Dani during a break in the dance. Pelle smiles at her flirtatiously, even proudly, and silently applauds--totally here for you, Dani--while Christian is literally looking the other direction, back towards where Maja--oops, I got myself eliminated, teehee!--has taken her seat. During the dance, Dani is, yes, tripping balls and speaking gibberish, but she is still having the best time ever. So, initially exhilarated, Dani wilts the moment she sees Christian, and if we were going to argue that Dani doesn’t reciprocate Pelle’s feelings, the visible heartbreak on her face here would be Exhibit A. Except people are more complicated than that. Relationships are more complicated than that. Dani is definitely more complicated than that. Letting go still can hurt long after you know it’s over.

All that being said, even the most complicated relationship stuff can get simple real quick with a grand, unambiguously romantic gesture, and as Dani is crowned May Queen, finally, finally, finally, we get one. No evasions, no apophasis. Stunned, still kind of high, Dani’s new family washes her away in a tide of congratulations. Odd welcomes her home again, in Swedish this time, and it’s just a lovebomb lovefest all the way down. The only ones who don’t hug and/or paw at Dani are hallucinations (or are they) of her parents in Hårgan garb, her mom laying one surrendering caress on Dani’s shoulder as she passes by, and, of course, Christian, poor dope, standing by the maypole, looking every bit as alone and lost as Dani probably has felt up to this point. The Fire Temple is a ways off, but he will never again be allowed close to her. They are over.

At the end of the procession, for maximum dramatic effect, Dani’s happy Hårgan sisters tilt her toward OHAI PELLE. As Pelle bends down to her, initially he appears to be in supportive friend mode, (“My God, Dani! May Queen!”), but then he just sweeps Dani up in a kiss that isn’t long enough to stop the ceremony, but just long enough to be undeniably romantic. In the script, the kiss is actually described as a “blunt, passionate kiss.” While so much of the Pelle/Dani ship is not scripted, here it is plain: Pelle, now wearing the Wunjo rune, is Dani’s wish for an understanding, loving partner come true, and for the minute she can be spared from the procession, he is kissing her for all he’s worth. Let’s just watch this on a loop for a while.

This is the moment that has launched several thousand “Did Pelle like Dani?” Google searches, and it looks like a freaking wedding because it kind of is. Look at all the Hårgans bursting with happiness, not just for Dani, but for them. We are all Hårgans because all Hårgans are clearly Pelle/Dani shippers. (Okay, there’s something going on with Inga, but that’s a different analysis post.) Dagny in particular looks like she’s going to cry. My sweet brother birthmate found him a newblood and they are the cutest. Both Pelle and Dani are in full Hårgan dress for this kiss, as though their relationship always had to be consummated with Dani fully planted in the fifth panel of the spoiler tapestry. Also note that the pink flower in Dani’s crown reflects her heartbeat. Notice how it speeds right on up while she’s in Pelle’s arms. At this point, Dani might yet equivocate--not that she’s very equivocal in the moment--but crown flowers don’t lie.

Christian probably doesn’t see this moment. In addition to succumbing to “the tea with special properties,” he’s watching from the maypole, and Dani and Pelle would have been obscured from that vantage by a few dozen white-clad bodies. But if he cared enough about Dani to celebrate her triumph instead of blankly witness it, if he had been able to refuse the tea...but then, if he cared that much, we wouldn’t have had a movie.

Once Pelle surrenders Dani, the happiest and proudest of all possible soft cult boys, she’s urged toward a litter in the shape of the sun and lifted high off the ground. The Hårgans serenade their queen in a procession to the dinner table, Pelle prominent among them, his hands arranged in a cradling gesture previously seen when the Hårgans burned Dan’s body. This is an assumption, but it seems a fair one, that the gesture conveys Pelle bearing Dani’s spirit, even if he’s not one of those physically carrying her litter. In the wide shot, you will notice they are sailing Dani right past an image of Terri hidden in the trees. In this scene, Dani is very literally leaving her birth family and Christian behind. When Dani takes her throne at the head of the mirrored banquet table, Pelle will placidly sketch the moment, and as previously mentioned, we’ll see him reflected in the table surface, indicating how he’s still plotting even in that idyllic moment which would seem to be the culmination of all his hopes and dreams. After all, Christian’s still breathing.

Sadly, this concludes the dramatized Dani/Pelle content. We know. We’re sad, too. In the major scenes around the kiss itself--the serenade, the photograph, the dinner after her crowning--Pelle is near Dani, but not next to Dani. No more close communicating reaction shots. We can see Pelle enthusiastically toast Dani at the dinner table, and she seems to trade a sly, flirty smile with him immediately afterward, but that’s it. We can’t even see Pelle’s reaction when Dani gags on the pickled herring. In the final ceremony, Pelle’s crowned, too, just as the movie has been promising all along, but he and Dani don’t share the stage or even a single shot. Blocking and camerawork, so suggestive of their love story up to the point Pelle lays a good ‘un on her, suddenly becomes a blue-nosed chaperone. But consider what the film would be like, what it would have to become, otherwise. Midsommar isn’t primarily a romance anymore than it’s primarily a horror movie. Nope, it’s not a horror movie either, not really. It’s Dani’s story; it just happens to have smooches and blood eagles in it. So the kiss is a great moment, but it’s going to have to last you. (Hey, would you like to see our fanfics?) 

Green Man/May King or not, it would appear there’s more post-canon wooing for Mr. Pelle to do (though Ari has confirmed more than once that Pelle has an excellent chance with Dani, wink.) The script specifies that Pelle is one of the Hårgans that bears Dani’s throne to scoop her up after she stumbles in her May Queen raiment before the film’s final shot, but like so much Dani/Pelle content in the script, that doesn’t actually end up on film. The last we see of Pelle, he’s on his knees scream/crying as the Fire Temple burns, and the last we see of Dani...well, the last we see of Dani is the final, iconic shot of the film. Insane? Eh, maybe. She’s synced up with her new family and having her unholy affekts burned away. Probably should check back later for that one. Happy? Definitely. Ever after? Sure looks like. And why not? Girl got her wish.

Oh, but there’s one more topic we have not quite explored. The writing on the wall. And the ceilings and the tapestries and the clothes and the footwear and the decorative flourishes and the furniture and the tables and plinths and the...

Big, huge Hårga hugs and thanks again to @daydreamers for expertise and editing on this post!

So. Runes. Specifically, the Elder Futhark runes, as Pelle tells Dani in the Director’s Cut, the “special little language” of the Hårgans. Throughout the film, runes are insinuated into basically every surface of Hårga and its people. So many tattoo opportunities, y’all. And it doesn’t even technically start in Sweden. Ari stuck a board featuring the whole Elder Futhark alphabet in Christian and Mark’s apartment. You can see it on the bookcase to Pelle’s right in the couch scenes. So, the film’s usage of the Elder Futhark is a deep, deep rabbit hole full of all the multivalent subtext we crave from this film, but they’re also absolutely blaring evidence for the Dani/Pelle ship. Throughout the film, like many of the background details we’ve discussed, the runes serve as a repetitive chorus of their fatedness for each other, but better still, the runes footnote the film’s ambiguous resolution as their genuine happy ending. So let’s dig in.

Dani has two main runes associated with her, Raidho and Dagaz, and they are both merkstave versions, that is backwards, lending them a negative reading. Oooooh, scary. Except negative readings aren’t necessarily negative either. All runic readings are subjective and contextual, which is why we decided to talk about these last. Let’s not forget that Dani begins the movie at the bottom of an emotional well.

Raidho, literally ride or wheel, refers to a journey. Yeah, Dani’s on one of those, seems legit. This is the only rune that Ari takes care to point out the meaning of within the film itself, when the elder Arne shows the Rubi Radr to Josh, pointing to Raidho on its side and telling him that that one stands for grief. Grief is a legitimate reading of Raidho merkstave, so let’s just take that interpretation at Arne’s word and combine it with Dagaz, Dani’s second rune. 

Dagaz is the last rune in the Elder Futhark, and it means day, symbolizing accomplishment, fulfillment, and new beginnings. As a symmetrical rune, it’s questionable whether it can be merkstave, but Dani’s Dagaz rune (technically runes, as she also has them on her shoes) does lie in opposition. Its negative reading in that case would be hopelessness, blindness, or cataclysmic change. Not fairytale stuff, right?

But Raidho and Dagaz appear together on Pelle’s drawing and on Dani’s dress. Also note that runic inscriptions are read right to left, and the tapestry of the “little love story” is an in-film clue to that reading order. With that in mind, together Raidho merkstave and Dagaz merkstave tell of a big change, even an ending, yes, but an ending to Dani’s grief, and that is what her journey in this film describes. Here, two “negative” readings equal out to a positive in the sense of Dani’s ultimate growth and transcendence. But wait, there’s more.

You will notice the runes on the Hårgans’ clothing, of course, as though they are their personal cult cutie marks, but the embroidered runes are often surrounded by other symbols, esoteric symbols and more complex runic talismans, which deepen the reading of the central rune, like footnotes. In Dani’s dress example, Raidho and Dagaz are flanked by merkstaved Tiwaz runes, with sun symbols above and below. Tiwaz (literally “the god Tyr,” the god of law and justice) is one of the runes featured on Christian’s robe during the sex ritual, and it describes justice, honor, authority, self-sacrifice. Its merkstave meaning then reads as conflict, imbalance, lack of communication...separation. And so, in the specific context of the dance competition, while Dani’s main runes shown in Pelle’s drawing forecast (or possibly straight-up spellcast, depending on your interpretation) an end to her grief, the more complex version she wears for the dance tells of that happening through a conflict and a break...but the sun will come out tomorrow, tomorrow. It is a new dawn for Dani as the May Queen.

Her shoes, which we only see during the dance, are more complicated. First, the embroidery is done in faded red thread, and we know that red appears very selectively on Hårgan garments. Siv wears a ton of red throughout the festival. Maja and Inga also wear striking red additions to their costumes at the Fire Temple ceremony. Ingemar has a single red button on his waistcoat. So red may convey authority, fertility, sacrifice, or even be a brand of shame, but it always seems to mean something.

As for the symbols on her shoes, again we see the merkstave-ish Dagaz rune, but it is alone in the center, no Raidho. So we’re looking at a big change or an ending again. Instead of suns, we have snowflakes, recalling the Spoiler Tapestry in the beginning, the way it began in frosty dark death skullhead weather and ends in summer dinner and dancing beneath the scariest sun since Teletubbies. To the right, we have a bind of three Tiwaz runes, and to the left, we have an Ingwaz (seed) rune, combined with a merkstave Kenaz. The triple Tiwaz is a victory rune, taken from an Old Norse poem where a Valkyrie was woken from her slumber. Three is a holy number, and that’s definitely something we know the 9-multiple-loving Hårgans pay attention to. This rune means the sleeper Dani is about to be awoken through a victory. Meanwhile the Ingwaz rune refers to coming into harmony and reaching potential. It’s also a fertility rune. Kenaz (torch) is a rune that normally describes transformation, knowledge, and the harnessing of light; merkstave, it speaks to darkness, lack of illumination and a relationship breakdown. Taken together, reading right to left, Dani’s shoes basically say: there will be a great change where she will be awoken from her slumber through a victory, she will have a breakup and/or her illusions will be shattered, but that will bring her ultimately into harmony, and there is the added implication of her fertility, bolstered by the red thread, being part of this. THAT IS ON HER SHOES. 

For what it’s worth, you will also notice Hanna wearing Dagaz in opposition, like Dani, and the elder Sten wears a merkstave Raidho, in yellow no less. You can peep merkstave Raidho and Dagaz elements on the temple doors, too. So even if you eschew our deep dive here, these runes cannot be looked at superficially, as merkstave = bad = Dani doom. If Dani’s doomed, so is Sten and Hanna and the whole damn Hårga, and you may think that, but it’s not terribly likely they’d write it on themselves, is it? Sten doesn’t look doomed to us. Sten looks quite jolly, actually.

OK, time to obsess on Pelle. Pelle has one rune on his Hårgan tunic that he wears for the majority of the film, Fehu, and this seems more straightforward. Fehu means wealth, specifically mobile wealth, specifically cattle. As we mentioned earlier: moo, Dani; moo, sacrifices. And since Pelle’s the one bringing new blood and their new queen, the association of Pelle with prosperity is quite fitting. Add to that the way Fehu and Raidho tend to pop up all over the village, particularly on the maypole. The maypole combination of Raidho (not merkstave) and Fehu speaks to the way the Hårgans believe the dance around the maypole enacts (and reenacts) a ceremony that brings them prosperity, and having Dani and Pelle as Raidho Barbie and Fehu Ken is just kind of perfect in that light.

Pelle’s Fehu is surrounded by four symbols. Let’s have a crack at those, too. First we have what looks like a closed eye up top. At the bottom, we have a cross. The cross is not actually a cross; it’s a combination of four Isa (ice) runes, and we know this because there are four dots arranged around them, telling us, hey, these are four symbols not one. Then to the right, we have another talisman that looks like a crucified diamond with five dots. Again, the dots mean that these are individual runes drawn as one symbol as a kind of shorthand, so this symbol is actually Ingwaz again, quartered by four Isa runes. Finally, to the left, there is another Isa rune crossing a Tiwaz, and the absence of dots here means that they are a bind, or they are meant to be read as one thing (or are a spell for one thing).

The closed eye symbol is a bit of a guess here; it might represent Pelle’s unclouded intuition or maybe, in view of Dani’s suns and the association of Raidho with the summer solstice, it is meant to symbolize Fehu’s complementary association with the winter solstice. We prefer the association with his intuition given the events of the film. But what about the other symbols? Isa is a rune that describes the self or the ego. On the positive side, it is about will and focus, but on the other side, it is everything bad about ice: rigidity, blindness and self-preoccupation, being frozen. Again, symmetrical runes like Isa don’t merkstave, but they can lie in opposition, and so we have two pairs of Isa indicating, at the right, self-fulfillment, with the added implication of fertility, and coming into unity with the family after the will breaks through the metaphorical ice. At the bottom it is the same reading, only without Ingwaz. Will and self-control overcomes lassitude. And then again, one last time, Tiwaz crossed with Isa, read as one thing, not a series like the previous shorthand symbols, invoking justice and male energy to, again, break through the metaphorical ice. Taken together, it’s a formula for Pelle and the family’s triumph. Governed by his unclouded intuition, Pelle’s will overcomes that of his four differently-blind friends, bringing new blood and justice and unity with the family for the betterment of all, and the two breaks in the rightmost configuration carry the added implication of Pelle bringing into the family Christian’s and Dani’s new blood.

Finally, as discussed briefly in posts 10 and 11, Pelle changes his shirt on the morning of the dance competition, swapping Fehu for Wunjo (joy). There do appear to be a couple flanking symbols on this shirt, too, but we never get close enough to see, so we’ll just have to go with Wunjo’s face value. Again, this is the rune that emphasizes harmony, family, and the art of correct wishing, i.e. wanting (and getting) what is good for you. Pelle wearing Wunjo when he kisses Dani is a sign that he, the anti-Christian if you will, is her wish come true. This choice is not only incredibly positive for his relationship with Dani, but illustrative that there is a difference between Dani/Pelle and Dani/Hårga by virtue of the fact that he changes back into the Fehu shirt for the Fire Temple ceremony. Insofar as Dani is part of the family after the ceremony, the prosperity spelled on his Fehu-emblazoned tunic applies to her, too, but the Wunjo shirt is for her and for her victory...and his victory over Christian for her sake. The implication is that their story will not simply end with Dani assimilated into Hårga. They have special, personal significance for each other. While the ending shots of the film are a little ambiguous, the runes promise the May Queen and her consort are going to be just fine, y’all.

Again, would you like to see our fanfics?

Of course, there’s tons more to explore in the film that doesn’t speak specifically to Dani and Pelle’s love story, and even while we compiled this list, we were continually noticing and discovering the significance of new things. There’s no reason to think that will stop just because we’ve posted the Receipts. Still, we hope that you will enjoy the evidence we have compiled here for not only the legitimacy of the Dani/Pelle ship, but its promise of a happy ending for the OTP because, by Ari’s own admission, for better or worse, Midsommar is a wish fulfillment fantasy.

For more, click on The Pelle/Dani Receipts Masterpost

After the Ättestupa, stuff moves very, very quickly. Team Hårga ASSEMBLE. Dani has been broken down both by witnessing a gruesome senicide and being forced to look into Pelle’s earnest blue eyes and confront that not only does Christian not love her, but maybe, just maaaaaaybe, she might could love somebody else. Christian is being broken down both by contending with Josh for his mcguffin thesis and being seduced by a cute underage redhead (SO GROSS CHRISTIAN YOU HAVEN’T EVEN TALKED). Plus Simon and Connie, by virtue of completely flipping out and demanding to leave after the Ättestupa, have unwittingly nominated themselves to be off(er)ed first. Once newbloods start disappearing, they disappear at a pretty rapid clip.

Simon and Connie’s disappearances, and Christian’s shrugging indifference to both, trigger Dani big time, as she confronts both how self-absorbed Christian is and how little credit he gives Dani's thoughts. At lunch, after an upset Connie vanishes, Dani is, as usual, seated between Christian and Pelle. As the scene opens, Dani’s back is to Christian and we can’t even see her face because she is looking into Pelle’s smiling eyes. For several seconds. They’re not talking. Just...looking. Like you do. With your buddy what was holding you on your bed and telling you how you deserved better than Christian. And this is the first time we see them since Ari’s impish smash cut from Dani hesitating on the verge of something to Dan’s crushed head.

Dani does eventually ask after Connie, prompting Jarl to give her the super believable official story that she was driven to the train station. Sure, Jarl. And Dani is still having a hard time buying that Simon would just leave without Connie. Especially in the Director’s Cut, we see how Dani notices how devoted they are to each other. But Christian is dismissive, and Dani goes cold. “I could see you possibly doing that,” she says. YASSSS QUEEN. She’s looking straight ahead, jaw set and eyes flinty, as Christian asks her, “What that’s supposed to mean?” She doesn’t answer and Christian should be grateful because the energy is very FIGHT FIGHT FIGHT FIGHT. As it is, we just see Pelle notice and quickly look away, hiding a spreading smile that is practically another hit of the sunshine motif. Meanwhile, Mark is lured away by Inga, a different kind of fool for love.

Simon, Connie, and Mark down; who’s next? Josh! Thesis Goggles strapped on tight, Josh sneaks into the temple to take pictures of the Rubi Radr and is summarily dispatched by an unknown Hårgan male. (2000 quatloos on Ingemar.) We do get a little gratuitous Pelle shirt changing the next morning (which Dani notices and quickly looks away from), and that’s important, but not as a hint that Pelle killed Josh. To begin with, there’s a bunch of reasons Pelle is unlikely to have killed Josh, not least of which our theory about why he isn’t sacrificed at the end: a) We see Pelle in bed when Josh sneaks out, b) even assuming there’s a secret door, Pelle really would have had to book it to get in there behind Josh and we see Josh make it to the temple without any indication of being followed, and c) assuming Pelle was involved in murdering or butchering Josh, we think he probably would have brought a spare shirt. Come on. He did the cake thing.

Pelle changing his shirt is not just eye candy/misdirection though. It’s actually a clever direction from Ari. If you notice, from this point until the Fire Temple ceremony, Pelle is wearing a different shirt with a different rune, Wunjo in black thread, NOT Fehu in blue. We will get more into this in Post Twelve, but Wunjo (”joy”) is an incredibly positive rune that represents everything we know Dani craves: joy, perfection, harmony, overcoming alienation, kinship and family. It literally describes positive, healthy wishes coming true. Pelle wearing this rune on the day Dani wins the dance competition and he kisses her is incredibly significant and indicates not just his intentions, but it shades the meanings of Dani’s runes as well. He is practically wearing a nametag that says, Hi, my name is Dani’s True Love.

At breakfast, Christian is icy about Josh, butthurt that Josh isn’t letting him steal his thesis with good humor, and Elder Sten announces the Rubi Radr is missing. Pelle, as usual, sneaks a look at Dani, presumably to see whether she’s buying it. The real Pelle/Dani content comes afterward, when Sten and Arne question them about Josh and Mark’s whereabouts and make insinuations about the missing Rubi Radr. (Everyone just step back and consider for a second this is all really for Dani’s benefit. While Christian's [sort of] consent clearly is important, they could have drugged him and gotten what they wanted from him at any point here. Dani is the one they want for keeps, and all these elaborate ruses only further isolate Dani from Christian and cushion her absorption into the family.) Everybody just...sort of assumes Mark is snuggling Inga still, I guess, but Christian cannot sell out Josh fast enough, and Dani and Pelle both look at him with undisguised revulsion. Meanwhile, Pelle does take responsibility for his missing friends and the missing holy text, and thus Odd magically appears (Pelle might be fidgeting his fingers or he might be affekting a secret message to Arne during this scene, too) and he’s given leave to go...look for them. [shifty eyes] 

It’s much like the birthday plot. Pelle gives Christian an opportunity to basically be himself, which makes Pelle doing the right thing, even something as simple and baseline human as not immediately forsaking your friend, a total repudiation.

Speaking of Christian being himself, while we don't believe Pelle killed anyone, he's laser focused on helping Christian get himself sacrificed. He takes every chance to stoke Christian’s most selfish impulses from his very first line, and more than that, he really seems to enjoy Christian’s fall. Again, Ari Aster doesn’t make many things in this film simple and plain, but Pelle’s delight in Christian’s corruption is one of those things. We already talked about the smirking in the Director’s Cut version of the car scene and the birthday setup, but once the plots start spinning, we get so much more. 

First, Pelle encourages Christian to think of Maja sexually by teasing him about her “taking a liking” to him and informing him she is of the age of consent. His affect is so permissive and tempting, as though Dani doesn't exist and Pelle is only being his wingman, and when Christian replies "Good for her" a little too grumpily, we know Pelle's aim was true. Pelle visibly savors Christian’s predicament. And he's aware of every bit of the spellcasting on Maja's end. When Christian eats and drinks the pie and beverage with (ahem) a little love story added by Maja, Pelle restrains a smile and a laugh. (This is the same lunch scene where Dani snipes at Christian, so he must have been high-fiving Ingemar behind the chicken coop afterward.) Later, Pelle smirks and watches from the corner of his eye as Ulla tempts Christian with special tea during the dance competition. This scene is particularly loaded in the Director's Cut, where Siv has made it explicit to Christian that Pelle showed Maja his picture prior to their arrival in Hårga. Yet when Christian takes a seat next to Pelle, he says nothing, knowing everything, and neither does Pelle. The masks are all but off. Christian knows what he’s going to do, and he’s ashamed; Pelle knows what Christian is going to do, and he’s triumphant.

And most sexily damningly, when Christian succumbs to a nice puff of paralysis powder courtesy of Father Odd, we see (and Christian sees) Pelle peep in through the chicken coop door. In the script, Pelle is described as looking away in shame, but that’s definitely not the Pelle we have on film. Film Pelle is HERE FOR IT. Film Pelle is gloating. And we think he really wants Christian to know it was him in the end, not out in front, but behind the scenes. While one could look at all of this as a refutation of Vilhelm Blomgren’s emphasis in interviews that Pelle is full of love or proof positive that Pelle is actually a (gasp) villain, consider that, flashes of annoyance at Mark aside, he doesn’t show that kind of animosity toward the others. Mark is willfully ignorant and gross; Josh is disrespectful in the sense that he wants to mine Hårga for his own gratification and ambition. But Christian is the only one he clearly delights in destroying, and that destruction is consonant with his love. Because of Dani. Soft, love-filled Hårgan boy loves Dani enough to hate someone for her sake, and that is a fucked-up wish fulfillment fantasy, make no mistake, but...it is still a very valid and common and powerful wish-fulfillment fantasy. That chicken coop smirk is, at its core, just as much an act of love as the birthday sketch. Dani is one of his family. He will lure his friends to their deaths for all of them, but he will scheme Christian to death just for her.

What? Just because it’s unhealthy doesn’t make it less true.

[tents fingers]

Now, Pelle finally has Dani all to himself. Yessssss. And he wastes exactly NO TIME passing to her an unfolded piece of paper he’s been keeping tucked away, with a nose scrunch (I’m sorry, it’s adorable) and a soft, surprise “Hey. Happy birthday.” Yes, Dani, someone remembered. Actually, someone spent a good deal of time carefully drawing a beautifully realized pencil portrait of you, complete with a flower crown and runes. Someone has been thinking about you kind of a lot, girlfriend of someone’s friend. How do you think he drew that? From memory? Do you think he has pictures of you? Anyway, Dani is thrilled and surprised and just so happy, which is also kind of telling. Real talk: he has effectively cornered her and privately given her a fairly personal gift, which he will encourage her to keep secret (more on that in a second). If she weren’t receptive, it could be creepy or at least awkward. If she weren’t into it, can you imagine how weird the rest of the festival could be? And this is the first day. But you are into it, aren’t you, Dani?

“It’s just something I do for birthdays,” Pelle smiles, and then he hesitates, as though the thought has just occurred to him. “Maybe it’s not appropriate?” Okay, Pelle, sweetie, forgiving the fact that were you actually concerned about whether it was appropriate to give her this, you probably would have mentioned it to Christian and/or not taken scrupulous care to give it to her on the downlow, why wouldn’t it be appropriate to give this gift? Because it could be construed as romantic, of course. Because it is pretty darn romantic. This is how I see you, Dani. But in asking Dani whether it’s appropriate, master manipulator Pelle is using the rhetorical device of apophasis, suggesting something by not suggesting it, basically, “Here’s a romantic thing, Dani. Do you mind? It’s not romantic.” SURE, PELLE. And then he suggests that they keep it “just between us.” Okay, Pelle, so if it’s an appropriate gift, offered purely in the spirit of friendship, no big, you’d do it for Ingemar or Josh, why keep it secret? His rhetorical moves here swing from denial to affirmation, throwing out mixed signals like a motherfucker to both assure Dani of his feelings and continue to provide plausible deniability. 

But then, Dani gamely accepts his terms, agreeing to keep the portrait between them...like that's no big deal. Consider for a moment what is implicit there. Christian can’t know. Why can’t Christian know? Is it because Christian is unusually jealous? There’s no evidence of that; he just left his girl alone with Pelle. It’s because this is the first (that we know of) exchange in an emotional affair, and while Pelle has given her plenty of plausible deniability, Dani isn’t even tentative about it. Yes, this is our secret. Remember how happy she was talking to Pelle on the couch in New York.

Then Dani, smiling as genuinely as she only does for Pelle, confides in him that Christian forgot anyway. So, not only does she alleviate Pelle of any suggestion of inappropriateness--which is less accepting that it isn’t a romantic gift and more that she tacitly accepts the gift with all its implications--she directly compares Pelle remembering her birthday to Christian forgetting it. This moment gets glossed over in favor of Pelle’s much more overt seduction of Dani, but please notice: Dani is comfortable with admitting something that personal about her relationship with Christian to Pelle. If he were just an acquaintance, if he were closer to Christian than Dani, why would she tell him that? It would be embarrassing to her and awkward for him as Christian’s buddy. Exact words: “Christian forgot anyway so this [portrait] is amazing.” Christian forgot, you remembered, 1 point to Team Hårga. Not to mention telegraphing your relationship woes to a man who just gave you a romantic gift is a considerably less subtle signal than Pelle’s apophasis. We’re not suggesting that Dani is unambiguously, consciously, deliberately lighting her signal fire for Pelle here...but witness. The signal fire done got lit. 

One more important bit about this scene. As we will point out over and over, Dani mirrors Pelle and the other Hårgans a lot, but also notice that when Dani shares that Christian forgot, Pelle perfectly mirrors Dani’s stunned/upset “oh” when he failed to condole her on the couch in New York. Like her “oh,” Pelle’s clunks loudly to the floor between them, interrupting their whole ambiguously flirty groove, but, for Dani/Christian severance purposes, it’s important he does this. Constitutionally empathetic as he is, Pelle could easily buffer the awkwardness of the moment, but he doesn’t. He doesn’t do anything to help Dani rationalize Christian forgetting. He simply reflects back to her discomfort and shock that Christian could be so callous of her feelings, leaving Dani to inadequately flail for excuses. In the end, she can’t excuse him, and so she re-ups her appreciation for Pelle’s gift once again, but she will leave that scene not only knowing Pelle cares, but having been forced to acknowledge, if only to herself, that Christian apparently doesn’t. Nice work, Mr. Pelle.

But Pelle is not done. Not our soft sweet cultboy. Skipping ahead to Pelle showing everyone the Youth House, he takes Christian aside at his first opportunity. We aren’t privy to a lot of his conversation, as the camera follows Dani to the wall of portraits of the May Queens, but we do catch the very end, up close and out of focus, as Dani also seems to key in on their talking covertly. Christian is aghast, as Pelle is telling him that he has forgotten Dani’s birthday. He asks Pelle if Dani said anything. And this is when Pelle tells one of his very few direct lies in all of Midsommar, assuring Christian that Dani didn’t mention it. This is important. Ari Aster blurs a lot of what Pelle knows when, but he wants us to know something unambiguously here, a rarity for this film: this isn’t a kindness gone awry. Pelle is setting Christian up. [grabs megaphone] PELLE IS SETTING CHRISTIAN UP. When Dani interrupts them with a question, Pelle nods and gestures significantly toward the bed before joining her, showing Christian something we can’t see.

As Pelle explains the May Queen dance competition, Christian gathers himself and then he asks Dani if she can join him outside, hiding something behind his back. Cue off-key happy birthday serenade and Christian trying to light a candle with a bad lighter. The cake, candle, and lighter could only have been provided by Pelle. That is presumably what he’s pointing out to Christian on the bed before he moves over to Dani by the May Queen photographs. It’s orchestrated to be obvious to Dani that Pelle is the real person behind the gesture, because Christian would have had no opportunity to arrange it. And of course, she saw them talking right before. After Pelle’s thoughtfulness, it will be obvious to her, and Pelle’s cover-story of arranging this to save Christian’s forgetful hide just makes it all the more apparent that he forgot. So Pelle might look like he tried to be a good friend to Christian, but he’s clearly presenting himself as a much better friend, maybe more, to Dani. 

We also headcanon that Pelle made the lighter intentionally bad by emptying most of the fluid, thus making Christian’s insincere gesture all the shittier. The fact that he has to flounder with the bad lighter just underlines that he hasn’t prepared at all. Meanwhile, in the background, several Hårgan women sway and soothe a baby, foreshadowing the way Dani will be comforted when Christian betrays her in the Maja impregnating ritual.

Hello and welcome to Rimanez and AnonLady present: Midsommar: The Pelle/Dani Receipts. 

Are you sitting comfortably? Got your tea with special properties, rune-stitched white linen solstice clothing, and flower crown? Then let’s begin. Skål!

We are going to step you through the film more-or-less chronologically, detailing evidence supporting the Pelle/Dani ship in dialogue and behavior, cinematography, costuming, set design, and artwork featured throughout the film. This will include not just the signs that Pelle loves Dani--compelling, but low-hanging fruit when discussing this ship--but that Dani has feelings for Pelle, that their onscreen intimacy indicates a friendship, at least, that is independent of their individual relationships to Christian, and that Dani and Pelle are destined for each other. We should note that Ari Aster is meticulous, so meticulous, and it’s possible there are still things we have missed and perhaps some of our interpretations you may disagree with. That’s fine! We’ve got a lot to work with here. Additionally, while we will touch on elements relating to Dani’s destiny as May Queen, we will concentrate on those elements that pertain to her destiny with Pelle specifically.

There will be 12 individual posts, which Rimanez and I will be posting over the course of the next week or so as we get them ready, two at a time, with each post hyperlinked to the succeeding post, and then at the end, we’ll have a convenient table of hyperlinks.

All gifs and high quality images have been wrangled by @amy-amell. Rune expertise will be provided by @daydreamers.

Before we get into specific evidence, a brief word about general motifs to be aware of in Midsommar. These are not things that directly speak to the Pelle/Dani romance, but will feature in scenes we discuss and contribute to their meaning. These include:

The color yellow. Yellow generally relates to Dani’s journey, her yellow brick road. For example: the prevalence of the color in the Ardor house, particularly in pictures of Dani and the flower arrangement over the bedside picture of her; the hose that Terri uses to pipe the gas fumes into the upstairs is yellow; the path through the woods to Hårga features a thickening carpet of yellow flowers; the yonic sun gate to Hårga is yellow; Dani’s flower crown during the competition is mainly yellow; the Fire Temple, of course, is bright yellow.

The sun. While they’re not sun worshipers, per se, the sun is the ultimate symbol of Hårgan belief in the Great Cycle. It also effectively doubles as a symbol for Dani’s destiny to join the family at the end, folding in the significance of the color yellow. Also note that in Old Norse myth, the sun is female and the moon is male, as opposed to Western traditions, which makes sense since, while it’s not explicitly stated, Hårga seems to be a matriarchy, with Siv as head honcho and the May Queen ultimately given the power of life and death in the Fire Temple ceremony.

The color blue. Blue generally relates to the Hårgans. You will notice it in their special solstice clothes’ embroidery, but also in sneakier places, like the lit trees behind Christian as he approaches Dani’s apartment to, sigh, sorta hold her in the beginning.

Flowers and plants. Flowers, plants everywhere. Not just real ones, but design elements, too, everywhere from Dani’s parents’ room to Hårga. Flowers, of course, have their own subtle language -- brilliantly and comprehensively explored in this post -- not unlike the Hårgans, but you will notice their presence waxes as Dani comes home to Hårga. In addition to the individual meanings of certain plants and flowers, note their generic connotations of sex, nature, growth, and balance. As Pelle muses in the meadow, “Nature just knows instinctually how to stay in harmony.” And that’s the essence of Dani’s journey: finding the harmony and balance she lacks.

Mirrors. Mirrors indicate something going on beneath the surface. We first see Dani’s parents, apparently sleeping, reflected in their bedroom mirror as Dani’s call goes to voicemail, only to learn they were actually dead. Christian’s lies to Dani, his friends, and himself are reflected in mirrors at Dani’s apartment and his own. Dani has her terrifying glimpse of Terri in the bathroom mirror. We first meet Maja primping in a mirror, and we soon learn she’s not just primping but primping for a plot. And most importantly for this piece, we see Pelle reflected in a mirror while sketching the newly-crowned May Queen, but of course, even in that idyllic moment, he is still plotting to get Christian out of the way. Mirrors = look again.

OK, with those principal motifs set to one side, let’s look at general underlying evidence of Pelle and Dani destiny, shall we?

Names. Dani Ardor. Ardor means love or passion and it comes from the Latin word ardere: to burn. Her first name, like sister Terri’s, is a male-sounding female name, a time-honored convention for Final Girls in horror movies. It also recalls Danny from The Shining (1980), a film that is referenced visually in the soaring overhead shots of the journey to Hårga, but also in the design of Dani’s bedsheet in the Hårgan Youth House.  

It’s also worth noting that Dani is a common short form of Danielle, which literally means “God is my judge.” Taken alongside Dani’s ultimate judging of Christian, that’s...pretty suggestive. (Big thanks to @henrys-side-blog​ for pointing this out!)

Pelle is a name on its own and a pet form of Per, both Swedish forms of Peter, from the Greek petros, stone or rock, i.e. the foundation. It brings to mind the Ättestupa, the ultimate symbol of Hårgan unity, and the way that Pelle offers himself as a support for Dani, too. There’s also the association with Peter, the disciple who denied Christ. I mean...his romantic rival’s name is Christian, although Ari Aster says there are lots of ways to read Christian’s naming...which he won’t tell us. “He is thrown to the lions, so to speak.”

Lastly, this may just be a coincidence, but Dani has unique pronunciations of both Pelle and Christian that differ from the way the rest of the cast pronounces their names. (OK, I think Mark says Pell-ay once.) This is in spite of Florence Pugh’s flawless American accent, and it’s not replicated with any characters that aren’t Dani’s love interests. It’s just weird.

Dani and Pelle’s Costuming. After arriving, Pelle initially only dons a Hårgan shirt while retaining the rest of his outsider clothing. Dani dons a Hårgan apron initially before changing into full Hårgan costume for the maypole dance. Their costuming throughout the movie, as with many of their movements and behaviors, show a continuous synchrony that also charts Dani’s assimilation into the family. It’s worth noting that Pelle doesn’t kiss her until they are both in full Hårgan dress.

Runes are another big underlying source of meaning, but frankly, they are so complex and multivalent, including elements that we only really discovered while working on this post, they are going to get their own section at the end, where all of our contextual evidence will help guide interpretation.

OK, let’s crack the film open and find us a love story.

Dani and the others emerge from the big yellow yonic sun gate and are greeted by several Hårgan youth who relieve them of their bags (and I’m TOTALLY SURE don’t rifle through them) while Pelle runs off camera. He returns shortly thereafter to introduce his sister Dagny, “born the exact same day as me.” 

There are a couple interesting things about this introduction. Number one, the way Pelle emphasizes her birthday underlines how “sister” does not necessarily mean a blood sibling to Pelle. If Dagny were his blood sister and born the exact same day as Pelle, she would be his twin. This is the first time that loose familial usage is really obvious since, well, Ingemar could have easily passed for Pelle's blood brother. Number two, it calls attention again to birthdays (and it is Dani’s birthday at this point, forgotten as far as she knows) and how astrology (or runeology) is important to the Hårgans. Number three, their shared birthday clearly makes Dagny special to Pelle, and so his choice to introduce his American friends to Dagny first takes additional significance. Not to mention Dagny and Dani are oddly similar names, as discussed in this post. And as Pelle does his introduction spiel, Dagny takes the opportunity to sneak a direct look at Dani, appearing to recognize her.

Dani endears herself to Dagny immediately, as she does to the broader Hårgan community throughout the film. When Dagny welcomes them to Hårga in Swedish, Dani replies with the Swedish word for thank you, tack. Pelle scrunched-nose GLOWS, nods encouragingly/proudly at Dani, and exchanges a look with Dagny that says nothing so much as “Isn't she the best?” “Yep, you got a keeper, brother.” And then Dagny abruptly bids them farewell without engaging with the others or saying anything else, as if the entire point was just for her to get a good look at Dani.

Next, Pelle runs ahead of the others to greet Father Odd. This is a particularly fervent, sustained embrace between the two men, even more emotional than Pelle's reunion with Ingemar, with Odd’s face revealing every bit of a parent’s fierce relief at the safe return of a beloved child. As Pelle remembers himself and pulls free, Odd gets a full view of the Americans approaching before/while Pelle is introducing them. He ZEROES IN immediately on Dani, clearly recognizing her before Pelle identifies her, and after his bulging eyes fit back into his skull, Odd says softly to himself, “Wow.” This might apply to the entire group or maybe seeing Josh, one of three persons of color in the whole of Hårga, but it also might just be Odd processing seeing Dani in real life. Odd warmly greets each of the Americans with handshakes and individual welcomes, but for Dani alone, he reserves a hug and “welcome home.” (Note that after Dani is crowned May Queen, Odd will tell her “welcome home” again, but this time in Swedish.) He follows this with “we are so happy to have you,” directed specifically at her, until Odd lamely tries to cover by awkwardly piling on more effusive welcomes and excusing himself.

During the entire scene with Odd talking to the Americans, Pelle’s face is frequently blocked in the camera shot by Dani; they are, again, overlapping. But we can see him from the eyebrows up, making it clear that he’s looking pretty directly and unashamedly at Dani much of the time. Once they arrive in Hårga, Pelle puts little effort into concealing his many stolen glances at her.

Our next scene is only included in the Director’s Cut version of the film, but it’s a good one for general Hårga mood/wholesomeness and Pelle/Dani substance. Everyone settles down in the shadow of the maypole for a little thanksgiving, uncanny vocal harmonizing, and a picnic, seated on the ground in the configuration of the rune Raidho. Again, we will get into the runes in more detail later, but it’s worth noting here that Raidho, meaning “wheel” or journey, is one of Dani’s runes, albeit merkstaved or reversed. Raidho is also one of two runes featured on the maypole itself, along with Fehu, which Pelle just happens to wear. (Sten, the Hårgan Elder who leads with the thanksgiving song during this scene, is also wearing a merkstaved Raidho stitched in yellow, but don’t get AnonLady started on her absurd Dani/Pelle are the new Siv/Sten headcanon no one wants.)

Dani is, as usual, seated between Pelle and Christian on mats that have been laid out in lieu of a table. From the aerial shot, we see that not only is Dani next to Pelle, but she and Pelle are actually sitting on the same mat, and that mat is yellow. (To be fair, Josh, who is also always next to his primary source Pelle, is half on that mat, too. Of course, of all the other newbloods, Josh is the one who comes closest after Dani to respecting Hårga, so we could torture some meaning out of that, too.) Pelle points out the fire pit to Dani, a prime example of Pelle’s tendency to explain Hårgan ways toward Dani. “It’s all our jobs to keep it burning,” he tells her, leaning in, and when Josh--the one whose thesis was supposedly the impetus for the trip--asks him to repeat himself, Pelle brushes him off. “I’ll tell you later.” Note this particular line, not unlike Pelle's later explanation of life being like the seasons, has morbid subtext, because we will eventually see how Dan and Ylva's bodies are cremated in the fire pit. One day, it will be Dani and Pelle's turn to keep it burning that way, too.

After the picnic, Pelle’s group sits on the lawn and hangs out with Ingemar and his guests, watching everyone folk dancing while Hårgan kids romp in a game Ingemar tells them is called Skin the Fool. [rictus smile] 

We first see everyone from Maja’s perspective, as she exits the Youth House, all set for her Christian mission, as it were, and the blocking is significant. At this point, Simon is off-camera, so not only is Christian centered in Maja’s POV, but we have Connie and Ingemar grouped on one end, with Pelle and Dani on the other. The first thing you might notice, other than Maja’s Christian-splayed focal point, is the way Dani is seated on the far end, next to Pelle, not Christian, and how she and Pelle (and Ingemar all the way on the other side) have eerily similar posture: cross-legged, straight-backed, arms resting on legs. All the other newbloods are slouching, leaning, whatever, like you do. Not Dani, and this only becomes more noticeable throughout the movie. In her movements and instincts, Dani almost can’t not be Hårgan.

So not only does Dani unconsciously mirror Pelle and Ingemar as she sits watching, not only is she moving subtly to the music, as if unable to resist dancing even when she’s too self-conscious to join, not only is she sitting closer to Pelle than her boyfriend (look at that picture and tell us who you think is Dani’s boyfriend of 4 years, we’ll wait), but she and Pelle are visually contrasted with the thwarted Hårgan/newblood couple of Ingemar and Connie. And in case that last part isn’t obvious enough, check out the wistful longing radiating from Ingemar once Simon returns, which is even more emphasized in the Director’s Cut, as we’re shown Dani noticing Ingemar pine for Connie, too.

Pelle gently suggests all of the others join the dance, but it doesn’t go anywhere (“I’m too scared,” Dani tells Pelle) until a well-timed flirty kick from Maja pulls Christian into the festivities. When Christian goes, Josh and Mark, who were totally uninterested two minutes earlier, instantly peel off to join, too. I guess they didn’t want to be left making conversation with Dani and Pelle? Anyhoo, this conveniently leaves our OTP alone for one of the High Pelle/Dani Moments, a scene and a scheme that deserves its very own post.