Goal: Show both Yvonne's power but also graze her loneliness, and show that even if she loves horrible people, she is ALWAYS sincere in her affection.

Diana's on a class trip to the local Art Museum, where she's given an assignment about explaining the symbolism of a piece of her liking. She encounters Yvonne once the class is let loose, or she's simply going on her own bc College.

Yvonne learns about Diana's prompt for her writing assignment, and decides to accompany her to the showcase. They walk around for a little, while Diana says that she hasn't had the chance to go to the museum yet between school and everything else. She likes this museum though, although the environment is a little more subdued than she typically prefers. Yvonne concurs, and asks what Di she plans to cover. She has no idea. One portrait eventually catches Diana's eye.

The FIRST PORTRAIT is a royal couple. The flower associated with this is either hydrangea or yellow or purple iris. To incorporate the flower, she could have one (or a bouquet) in her hand, or the flower may also be with the man.
The young man seems quite pompous (if serious,) while Yvonne sits beside him somberly. Diana reads the caption aloud, and Yvonne basically fills her in that he was notable conqueror who'd done some really questionable things. Yvonne could point out certain things re: the symbolism in the portrait, sort of like a tour guide (and an easy cheat sheet for di, she can joke) and basically fills her in.
It's a classic pose - the man standing, the woman sitting. Instead of the woman sitting in front of the man, they could be slightly shifted away from each other (giving the impression of coldness, but also maybe that they have each other's back? either that or maybe a possessive hand from the man to yvonne [and vice versa]).

Fan language can also be utilized in some way - "I love you" is drawing the fan across the cheek, "don't forget me" is behind the head, "kiss me" is a handle to the lips. If the fan separates the two, then that's an indication of a separation even if the language it conveys is loving. If fan language is utilized, then Yv's eyes would be tilted towards him to show the message is for him while looking like a side-eye on a surface level. However, normal portraiture is also fine with both of them looking at the camera, since an imposing image can still be draw, emphasizing an almost detached feel.)

Because of Yvonne's flippancy and biased commentary, it should be easy to assume she didn't care much for the man. She may ask Diana for her thoughts, but it wouldn't be an option, just a wrong assumption. Regardless, Yv takes it in stride and doesn't bother to correct her yet, and instead moves on. (Diana may jokingly ask if Yv has even more self portraits hung up here which, well. Either way, a transition to the second portrait which is right next to it or close by.) Diana gets the impression that Yv is this really cutthroat person who does what she needs to to stay alive and on top and (in power.)

The SECOND PORTRAIT is a later portrait of another couple, this time not royalty, and instead of two women. The flower associated with this one is daffodil - a single daffodil foretells a misfortune while a bunch of daffodils indicate joy and happiness - so the non-Yv woman would be holding a single daffodil. This artist is still royalty, if less in power than a literal king.
The portrait is revealed to have been done by the non-Yvonne woman in the picture, who eventually contacted consumption (TB) and slowly perished, but only after she finished this portrait. It's a very intimate and romantic piece in comparison to the decorum of the previous picture, with likely heavy references to both The Kiss by Gustav Klimt and Ophelia portraiture (since they're big on yv's moodboard anyway.) There could be some subtle expression changes from Klimt's inspiration though - maybe the one kissing the woman is Yvonne, the closed eyes of bliss could toe the line between joy/contentment and bittersweetness, but easily interpreted as joy vs the more subtle sadness. The museum commentary (the one not by Yvonne) could have it be misread as some sort of friendship celebration ;v, even if the museum does acknowledge how the painter died. With how the kiss is composed, the kisser could also be implied to be going for the neck wink wonk. They could also be mistaken for mistresses/wife and mistress of a court noble of some sorts.

****Again, Yvonne asks for Diana's thoughts on the portrait once she reads the museum's commentary, and she takes it in stride. Yvonne asks Diana what she thinks after seeing the both of them, or if she has any preference in covering one or the other. Diana mentions how Yvonne appeared so much more happier in the second portrait and just in general seems more fond of Portrait 2's subject.
Diana can make a casual mention of how it's a shame Yvonne put herself through the trouble of portrait 1 after seeing how happy portrait 2 made her, and how she's happy that Yv moved on. Yvonne surprisingly doesn't chuckle, but she does seem faintly amused. She asks if it really seems that way, which piques Diana's interest because there's so many ways to take that statement. Yvonne asks if Diana would really like the truth. Diana pauses.

Yvonne waves it off again, regardless, and walks on. Diana can acknowledge how no matter what she says, it feels like a trick question because Yvonne can be so unreadable. Yvonne begins to monologue, just a little, asking about Diana's values or who she'd pick - if Diana had it down to a base level power versus love - and Diana asks what the truth is from Yvonne. They stop walking, and Yvonne asks what Diana can gather from this one, now that Yvonne's helped her practice with the first two portraits.

The third portrait (part of a CG) is Yvonne by herself, in a different crown and likely holding a scepter (and possibly a coronation orb.) Yvonne's personal flower is a forget-me-not. However, there's cues of both of her previous mentioned lovers in this portrait - perhaps the flowers in a necklace, or a bouquet she's holding. (Alongside, perhaps, other flowers that can represent other unnamed lovers.) (There should also be similarities in apparel/whatever to the previous portraits, to imply they're still in the same "area" even if the name changes.)
She looks like a perfect queen - composed and elegant. The museum's official commentary on the plaque or something is that it's about the coronation of a recently widowed queen who helped lead the country to prosperity, just to eventually vanish after a fierce battle where her side eventually eeked out a victory, even if later on the power of the country dwindled after her disappearance, even if it hasn't necessarily disappeared. It's not the same exact country as portrait 1 and could be dated centuries after. Yvonne can reference Diana's assumptions and say how she didn't -always- lock herself into loveless marriage. Diana sees at all the power that Yvonne's amassed and how she "eventually" ended up on top, and can't help but ask if she honestly loved all these people or if she used them.

Transfer from this image, straight to the full CG.

The CG: Diana may be in the shot but doesn't have to be, with a zoom in during the key moment. Yvonne stands close to the portrait and seems almost eerily exact to it, except she currently wears near-arrogant smirk and a confident tilt of the head, while Diana is in the foreground. She looks both intimidating but poised. Yvonne says that ultimately, it's no fun if you're not doing something sincerely (like love. Or Power). and THAT is why it's so scary. She then lectures  Diana, just a little, about how you can't live with regrets.  Yv then looks back to the third portrait, specifically at the flowers (can comment about how it was a pain to get them out of season for the sake of the portrait) and it all clicks in for Diana that Yv still misses them and may be a little lonely.

After that odd moment, the CG ends, and Yv basically clears the tension in the air halfheartedly. Diana may ask if she still gets portraits done, and Yvonne replies that's what smartphones are for now, now.
Di then has the option to either offer take a photo with Yvonne or not (-wait and see if she monologues more-), saying she'd like to keep that sort of memory, knowing what she does. Yvonne can tease her over this. Di gets to thinks about how Yvonne will treat Diana the same way she does her previous lovers/people in her life, and how someone else might interpret it. This can brush and acknowledge the romantic implications.

Once the photo is done, or for the other option, now that it's been enough of a weird pause, Yvonne asks if Diana has enough material to write her paper, and she does. She then offers to grab a bite with Diana since all that walking in the museum adds up, and she agrees.