you-missed-a-spot

anonymous asked:

"Anna, you missed a spot." Hans sneered down at his princess as he pointed to a spot on his boots. "Now clean it properly, or I'll make you lick the dirt off." He casually took a drink from his wine glass; ignoring Anna's blush. "Yes, sire." She whispered as she rubbed the cloth over his boot once more. When she was done, Hans inspected it. "I suppose that will do." He then smiled and pulled Anna into his lap. "I'm bored of this game, can we make love now?" She pouted. Hans kissed her in reply.

This is GLORIOUS!

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John Moore in his first game as an Arizona Coyote- 3.3.15

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In my heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart, heart…

"You Missed a Spot", Dalia Royce [Suburgatory]

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You Missed a Spot

"Hot tea with larmon?"

"No, I want Carmen"

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TV Guide: What would you like to see happen in your last scene together?

William Petersen: We finally have sex? Believe me, it’s been brewing all along. For me, anyway.
Marg Helgenberger: Catherine would love to have a roll in the sack with Grissom!
Petersen: They have this understanding with each other. There’s a different kind of respect Grissom has for Catherine that would preclude a relationship on that level. The very thing that was wrong with Grissom and Sara is what he wouldn’t allow to happen with him and Catherine.

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This is who I really am

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Jane/Lisbon scene analysis.

Camera Angle

A medium close up on Lorelei as she asks Jane to kiss her, reinforces the personal level she has imposed on the conversation. She is testing just how far Jane is willing to go, but the closeness also hints that she has, on some level, got feelings for him. This is further reinforced when Jane responds "what does that prove?" The angle then goes back to a wide shot of both of them, as Jane has effectively shot her down, literally backing away from intimacy. If he wanted to kiss her, he would have done without needing an excuse. The fact he didn’t immediately kiss her is important.

The medium close up is also used on Lisbon. Again the intimate angle is important because A) her reaction is valued by the audience  B) It suggests Lisbon has feelings for Jane (the closeness allows for these feelings to be portrayed and related too.)  C) the intimacy manipulates the audience into accepting her feelings and sympathizing with her. If the shot was a wide angle, in which we could see the whole office as Lisbon is sat at her desk, the scene would not be affective. i.e Lisbon’s hurt feelings are the focus point of the shot. Her feelings for Jane are an important element to the scene.

Cuts

It may seem like an unimportant thing, in fact it’s probably the most overlooked technique, but cutting is incredibly significant. The fact that it cuts to Lisbon’s reaction after Lorelei says 'kiss me' again reinforces Lisbon’s feelings. The scene could have continued to play out between Jane and Lorelei alone, but Lisbon’s reactions were constantly cut in. This is because they are a vital indicator to Jane and Lisbon’s relationship, and the writers want us to know that. Lisbon is jealous and it is important.

Lighting

A small, but very clever indication that Lorelei is a character in which the audience should, on some level, dislike or doubt, is the lighting in this scene. To the left of Lorelei, the lighting is very dark, but by contrast the lighting to her right is well lit. This is a subtle reference to the shoulder angel/shoulder devil - Lorelei has both good and evil in her, she is somewhat ambiguous, can she be trusted? This contrasts against the shot of Lisbon, where the lighting is consistent, she is a good honest person and her reactions should be trusted as pure. This again encourages the audience to take Lisbon’s side. We feel sorry for her because the good honest person is the one left hurt.

Dialogue

Lorelei is being personal throughout the scene "I want your trust and friendship" "kiss me" Whilst Jane is decidedly not. His intentions are quite clear. His only interest is to catch Red John, he continuously steers the conversation back to that. He is confident and insistent in his answers, all except one. As Lorelei says "I think you’re a little bit in love with her" Jane laughs nervously. Jane, the man that for 5 seasons now has proven he has an answer for everything. Everything except something that is potentially personal. This is where he becomes nervous and hesitant as he works through his thought process. He takes a few seconds before responding "I do it to pass the time". He simply could have ignored her comment and continued his questioning, but the comment threw him because it was true, and he felt the need to reassure her it wasn’t, because the thought of people knowing scares him. Especially someone working for Red John. Although it sounds like a dismissal, he is trying to protect Lisbon, like he always does. This line, along with Lisbon’s reactions, are what in this scene brings Jane and Lisbon’s relationship up for future preparation.

5 Ways to Practice Witchcraft With Little or No Money
  1. Take a walk in the woods. Use all your senses and try to spot plants or animals you might usually miss. Find something small, like an acorn, a leaf, or a rock, and bring it home to put on your altar.
  2. Put your hands in the dirt. Gardening is an easy way to get in touch with our witchy natures. If you can’t have a garden, try planting a few little herbs, or a flowering plant or two inside.
  3. Go out in the rain. As you get wet, feel the water in the droplets connecting you to oceans and faraway continents.
  4. Commune with an animal. Animals connect us to the wild side of life, no matter how tame they may appear. If you don’t have a pet of your own, try going to zoo or a friend’s house.
  5. Send good energy to someone who needs it. Our energy and positive thoughts are powerful things— share them with someone who needs a little boost.

Witchcraft On A Shoestring, Deborah Blake