all the things i love about this scene

[Just Between Lovers Episode 5]

Kang-Doo does not need to see ghosts of the dead guy trapped with him. Logic dictates that this boy’s death is not his fault. I think we would all freak out of someone tried to crawl up our injured leg. But trauma isn’t logical so I’ll scream at ghosts with him.

I love how effortlessly the women are weaved into story. Mom and Auntie tease each other lovingly and even Ma-Ri and Granny are given a moment together for the only reason that scenes like this exist in real life. Moon-Soo and Kang-Doo live in a world rich with other people who love and care about them but also exist without them.

I am a little worried about Wan-Jin. It is one thing to go after a hater online that threatened to put you in a wheel chair. It is another to make a love story out of it. I just worry the hater is a little too cute to ignore.

Yoo-Jin continues to be cranky about everything and I think she should stab her brother in the face. It looks like their family company is controlled by the board of directors and their fate is tied to that. If I were her, I would do everything to edge Oppa out and take over myself. But women don’t get those kind of stories. It is more likely that Joo-Won will win and she will get power through backing him. Ugh.

eurydike  asked:

In the book, there is mention of how Oliver was lost for a few hours one day when he was out on the sea by boat. They even thought he drowned until he reappeared safe and sound later. I‘m curious: Is this scene in the film? The book touches on the subject only marginally, that‘s why I hoped the film would probably offer more details as to why Oliver was on a boat all alone that day. The whole thing always seemed peculiar to me. Do you have any thoughts on this?

hey! sorry for the late replay i wasn’t able to think yesterday heh no there’s nothing about this in the movie. he didn’t show up one day either, but no one was worried about that. i think oliver in the book just loved to go somewhere on the boat to just think or vice versa, he wanted to clear his mind and it was helping him? i believe it’s something like that. similar thing to how he used to sit on rocks at night

All I want is a main character to be gay.

I don’t want one of the ‘main’ side characters within the show, I want the actual main character in which the entire show revolves around.

I don’t want the entire show to be about them being gay, I want the show to be about something entirely different. And maybe in season 2 they meet this cute other character and they fall in love, and it’s just a little side-on thing which isn’t really important to the story other than they’re happy.

I don’t want them to be gay entirely for the shock factor, or some cheap sex scene. I want cute PG gay couple who are healthy and happy.

I don’t want it suggested that they’re together in some cryptic frendship/relationship way. I want 100% undenialable gayness. I don’t want queer baiting either.

And I want them both to stay alive.

Is that too much to ask for?

8

Parker, pick a fight with Hardison’s date.

3

Une balle, un mort.

Spiderman Homecoming was A1

A1 means great

oh look another movie master post by ya girl here we go

  • ok im gonna start ya’ll off with a BANGER 
  • {{so get this when the Avengers first had their alien battle in New York (2012) Peter would have been 10 years old so I low-key think that it was Peter that did the little drawing of the Avengers that the movie opens with}} I have since rejected this theory completely upon realizing I wrote this post at 3am and how the fuck could he have it if Peter drew it???? Cmon me
  • Tony is trying SO HARD to be a better dad than Howard was
  • “How’s your daughter?” (u speak Spanish rly Peter)
  • when he’s standing on that building and that guy sees him and goes “Do a flip!” and he actually does
  • “Hey it’s my car dumbass.”
  • when he first walks into the bank and is trying to decide how to stand what a dork
  • Hannibal Buress’ two (2) scenes
  • him running through sprinklers
  • the dog
  • that whole scene where he was chasing the van
  • i feel like the past spider-men were like really graceful and swinging really neatly but this Peter literally hurls himself everywhere and crashes into so many things
  • “You know I’m a curious person by nature.”
  • when Peter rejoins the decathlon team 
  • “You can’t just abandon us then stroll up and expect to be welcomed back by everyone.”  “Hey, Peter welcome back!”
  • Ned has a sticker of the “this is fine” dog on his laptop
  • “Uh I put a tracker on someone, he’s a bad guy.”
  • “Nedcallmebacktheglowythingsabomb!”
  • “I don’t really want to celebrate something that was built by slaves.”
  • plus the guard during that scene and his little hand gesture
  • *Peter falls down the elevator shaft*  “Thank you.”
  • Donald Glover “I know what a girl sounds like.”
  • “That’ll dissolve in two hours!”  “I got ice cream, man.”
  • when he steals the keys from the guys on the ferry he says yoink
  • he is so frantic when he tries to save the ferry and distraught when it starts to fall apart again
  • he literally almost ripped himself in half to try to save it
  • “If you cared you’d actually be here.” Tony: “GUESS WHAT.”
  • deeper twist to that yes he’s there Peter just like his dad never was for him 
  • that scene was a good Dad Tony moment
  • “If you’re nothing without this suit, then you shouldn’t have it.” this is so important
  • ^ honestly i could go into so much detail about that just lemme know if you want me to ill make a whole ‘nother post about that shit
  • that hall pass was ridiculously huge
  • GOD the most jarring shift from Aunt May teaching Peter how to dance and tie and tie and there’s happy background music and he’s so excited then BAM fuckin Michael Keaton opens that door and ho-ly shit
  • he is so fucking scared during that whole scene in the house and in the car
  • he’s FIFTEEN years old and he’s got absolutely no idea what this guy will do if he finds out who Peter is. this is basically his frst encounter with a real villian and he scared shitless
  • he literally almost cries in the backseat when he sees Vulture start to figure it out
  • when Michelle flips Peter off at the dance and the way she flips Peter off at the dance
  • “I’m…looking at……porn..”
  • the fucking SCENE where he gets crushed he is so scared and so hurt and oh my god
  • Tom Holland’s acting was A fucking 1
  • he does good hurt/crying/scared noises that sounds weird but it is v important
  • “C’mon Spiderman!” 
  • how desperately he tried to save Vulture he is so good and pure and just really wants to protect people he doesn’t want anyone to die
  • “I’m trying to save you!”
  • the random school mascot running by towards the end??
  • the bathroom scene
  • Tony is so happy to have a son he loves Peter fight me
  • super random but i love the way Tony taps his watch to reveal the suit
  • “Look at that. Look at me.”
  • the way Tom turns his head when he says that is rly funny too
  • when Happy goes “He’s a good kid.” and Tony does that fucking shrug smile thing and the look was a mix of “Yea I know” but also like parental pride??? it’s a very specific look that i cannot fully explain
  • PEPPER
  • AFTER CREDIT SCENE Vulture is either protecting Peter bc he saved his life or he wants to kill Peter himself


come yell at me about any and all of this please

3

Guys are too into Loki and he keeps using it…

Things I loved in Thor: Ragnarok


- the fight scenes were extremely epic
- all the things said by Korg, he’s hilarious
- Loki’s expression when Odin called them “My sons”
- Thor always throws stuff at Loki to see if he was really there
- “I’VE BEEN FALLING FOR 30 MINUTES!”
- Bruce Banner cosplaying as Tony
- Get help!  “Classic”
- Steven fucking Strange
- Thor taking selfie with random girls
- Des and Troy
- Valkyrie walking off her ship like a badass but then falls because she’s drunk af
- That story about Loki transforming himself into a snake because he knew Thor loves snakes and then suddenly transforming back and stab him when they were like 8
- the sun’s getting real low
- but giant monster!
- THE REVENGERS
- *Hulk appears in the arena* Loki: “I have to get off this planet”
- strongest avenger
- Loki acting like a total diva when he says “Your saviour has arrived!”
- ‘i would hug you if you were here”
- “i’m here”

things we now know about matthew holt (s4 spoilers)

-he can fucking s e e

-his relationship with shiro was more formal on the kerberos mission than we thought

-he gavE HIS GLASSES TO PIDGE CAUSE HE WANTED HER TO HAVE SOMETHING TO REMEMBER HIM BY

-the entire alias of “pidge gunderson” is based off of matt (hair, glasses, name, actual intent for the alias, etc.)

-instead of being super protectice of pidge, he was really proud of everything she’s done with team voltron and was really happy for her

-he’s smitten for allura

-super cool and suave big brother

-he has a close relationship with his dad (who even has a secret code language with their dad c’mon)

-know his way around a pole ;))) (i’m sORrY)

-getting into the garrison was the best thing to ever happen to him (other than pidge being born probably)

-he’s the one who originally called katie “pidge”

-he was respectful enough to stop calling her that when she asked him to

-lance lowkey wants him dead now

-he’s a devout and badass rebel officer that was willing to drop everything to help the coalition

-he is currently the only one who knows about keith almost sacrificing himself

-him, hunk, and pidge are the biggest team of nerds ever

-would probably die for pidge (same honestly)

-such a fucking dork oh my god

-beautiful pre and post kerberos mission

-loved and respected by all

in conclusion matt holt is the best thing to happen to this season (lowkey this show too) and i have so much excitement stowed away to see his future character development and how he interacts with the team and aaAAAA

I want to tell a quick story about how important representation in television is, and how Sense8 is really making a tangible difference. You can repost if you like, I thought your followers might enjoy it.

My dad is a wealthy, white, conservative male who voted for Trump. He’s not a hateful person…in fact he’s one of the kindest people you’ll meet and he can talk to a random stranger for hours. But he’s extremely fiscally conservative and tends to have a narrow world view. 

He and I argue a lot. He calls me a naive liberal who has no idea how the real world works. I call him a decrepit old man who wouldn’t know innovation if it kicked him in the teeth. It’s our way of keeping each other on our toes. 

But we love to watch TV together. Game of Thrones, House of Cards, and Vikings are a few of our favorites. I always held off on showing him Sense8…I honestly didn’t think he’d like it. But one day he asked me “What should we watch next?” and I though…why not?

He absolutely loved it. Yeah he thought the sex scenes were a little gratuitous, but he couldn’t stop watching. He even started talking about it to all his brothers and friends during our BBQ. I was so pumped he enjoyed it. 

But it was one scene in particular that really changed things for him: Nomi’s speech during her sister’s rehearsal dinner in episode 2x8. 

You see, my dad thought Nomi’s relationship with her Mom was unrealistic. He said “Parents love their kids unconditionally. No real mother would ever say those types of things. I mean…she’s not abusive. She’s not a drug addict or an alcoholic. And clearly no money problems at home. A real mom wouldn’t hate their kids just because.”

I was floored and didn’t know what to say at first. He had called me sheltered and naive so many times…and then he says something like that. I realize that it’s because he loves me so much (and would still love me so much even if I were trans) that he found a character like Nomi’s mom not just unrelatable, but completely unrealistic. 

But eventually I say this. 

“Dad…about half of homeless youth are LGBT. Believe it or not, this is one of the most realistic parts of the show.”

To which he replies: “Oh. Really? I…didn’t know that.”

And then a few minutes later Nomi’s says her speech and I look over and my dad is tearing up, just a little. 

“You doing alright over there?”

“Yeah…yeah I just….I’m fine. But I think I get it a little more now.”

So that’s my story. Even old white guy who voted for Trump is heartbroken about Sense8’s cancellation. That says a lot about how big a mistake Netflix is making. 


Submitted by @fourforyouglencoco

8

”anywhere with a clear shot of the street.”
(maggie gives her girlfriend two guns to make sure she stays safe ;-;)

anonymous asked:

If you wanna write a ficlet based on the tags you put about Derek not being good at receiving compliments so stiles compliments him always I can guarantee you that I will 100% read it and reblog it and comment about how much I love it :D

Well how can I resist that??


The first time it happened, Stiles didn’t think anything of it. Standing over the smoldering remains of the creature that just tried to kill them, he said “nice job”, gave Derek a friendly slap on the back, and suggested they go out for celebratory we didn’t die today milkshakes. He was pleasantly surprised when Derek both agreed and paid, and he dipped fries in both to see if they went better with his strawberry or Derek’s chocolate.

(The answer was chocolate, and Derek didn’t even get mad when three of Stiles’ fries were lost in his shake.)

The second time, he was marveling at the obscure text Derek managed to track down and said, “dude, you are literally the best, I’m buying you pizza!” And shockingly, Derek let him, and even told him what toppings he wanted. That might not seem like much in the grand scheme of things, but Stiles had spent years watching in silent judgment as Derek picked off half the toppings from the pizzas he ordered for the pack, as if he couldn’t get another for himself that he actually liked.

Stiles told him he liked the way he rearranged the loft, and Derek sat through the entire extended edition of The Fellowship of the Ring on his new flat screen.

When he mentioned liking the fancy pasta dish Derek made and asked for a lesson to make it, Derek agreed. He showered compliments on Derek’s meticulous overhaul of the bestiary and Derek let him borrow three books.

Derek never let anyone borrow his books, they never left the loft.

These events were all spread out enough that it took a while to click, but when it did, it was both a revelation and incredibly depressing: Derek had no idea what to do with even the most casual of compliments.

Sarcasm was no issue, Stiles knew that much—he’d personally thrown out enough nice martyr complex, jackass and the like to figure that out—but anything that was even remotely sincere?

He started paying attention after that, to the way Derek would stiffen and his eyes would widen a bit before his face closed off again. He would go quiet, maybe nod, and quickly agree to pretty much anything just to get the focus back off himself.

Because Derek was actually embarrassed by compliments.

Keep reading

anonymous asked:

do you have tips on comic compostions and angling/framing of scenes beacuse holy fudge what the actual hell your mob comic is An Expirience

hhhhhhhhhhhhhhhhhhhhOOOOOOOOOOOO BO Y AIGHT

I’m gonna take this ask as a chance to masterpost about this comic.

Since there wasn’t a set time limit for this comic, I went all ham for it, which means there’s a lot of thought about angles/framing n shit in this sumbitch. (keep in mind i’m still learning this craft myself as i go along so FEEL FREE TO IMPROVE WHEREVER)

I’ll go in depth about it but all of my tips can be summed up with : 

go for the emotion of the scene.

Everything I do, I do to try and heighten the feeling in a scene. What I’m about to describe were all choices to try and maximize the emotional impressions.

Angles 

First off, everything in this comic (with the exception of panels 7-9 on page 4) is from Mob’s POV. It’s all built from there. keep in mind goin forward -

We start with Mob terrified of being spotted, of running into anyone. So I strained the perspective to make it feel too close for comfort, despite how far away his other limbs are. I also used the angle to emphasize the “spotlight”, pushing Mob into further discomfort, like he’s being watched anyways.

Mob fears he just murdered someone ? At his lowest moment in this comic? This is where the camera looks down on Mob the most.

Time for shock and awe that the man’s alive ! So Reigen is angled UP, building his Bigness in Mob’s eyes. Most subsequent shots repeat this, keeping us grounded in Mob’s perspective.

Here, Mob is literally on his knees asking for answers. So I pushed for an angle to make him seem really tiny. I wanted him to look as small as he feels.

In the next few pages, the angles basically level out (and I’ll talk more about why in other sections***) until

Mob has just touched back. This was a direct action on his part, so just as I’d built Reigen with that tilt up, it’s Mob’s turn to share that space.

Once Mob fears for the lives of the police, we shift back to high angles. Using a high angle to make a character seem small isn’t groundbreaking but it’s something to chew anyways.

This is less about the angle and more about how cramped everything is. Mob feels backed into a corner unless he can get Reigen to relent. So the tightness and how Reigen looms reflects this.

And here, I mirrored the very first panel. Once again we have a shot of Mob’s back, walking into the light of a streetlamp. But this angle is gentle in comparison, even if slightly off center. We can see where the light comes from so it ceases to feel less like an omnipotent threat and more mundane. Perhaps even hopeful.

Paneling 

I’m sorry to say I feel this is one of my weak points as a creator. I’d like to improve here the most. Most of my panels can be summed up with ‘slant = energized’, ‘straight = stable’. BUT. I did take a few liberties here and it’s good to point them out.

Broken glass to heighten the ouch on Mob’s part.

Salt man don’t give a fuck. he IS the panel. //adds to the energy of this moment

This break from the panels is meant to make Mob hitting Reigen a more immediate threat.

Same with Reigen reaching around it here. He’s still in danger of being shreddy shreddy at this point.

Sometimes a panel will bleed off, to give a more ‘open space’ feel. I like to use it in subtle “oh” moments. That’s the best I could describe it.

annnnnd nothin like a casual reminder on the edges of panels about what would happen should the police show up.

Staging/Body Language

Once Reigen shows up, he dominates the frame, even in shots where mob is closer to the audience. Again, this is all to emphasize how Big Reigen seems to a scared Mobbu.

Mob pushes himself to corners, Reigen’s given the bulk of the space. 

He stands taller than mob and makes the frame uneven.

Even his hand feels huge in comparison.

***That is, until Reigen has a better perception of what’s going on.

Then his actions and staging reflect this.

Reigen kneels down, trying to make himself smaller both to Mob, and in the frame.

The staging reflects Reigen’s attempts to get on even ground, literally and metaphorically.

Mob’s still pushing himself into corners, but now Reigen has actively surrendered some of the space.

Still just, trying to get some of Mob’s perspective.

And from this point onwards, Reigen and Mob share the space/frame more evenly. 

Even in shots where Reigen’s kinda large, he no longer seems so imposing.

Mob still looks up to him but we no longer have such dramatic shots tilting him up and having him hog the focus of the panel.

And we save the closest-closeup, both in staging and in how close our characters physically feel for last. Because bonding and shit.

Coloring

Decided to make the use of color sort of uncomfortable. Hinted at in edges but not really a presence of their own. Hard to tell what the color of anything is because it’s all nonsense in ur peripherals.

Until we get to humans. But this color seems more invasive, and doesn’t really touch mob in a positive way.

Till we get to these splash of color, messy and kinda unorganized but it’s exactly what Mob needs to bring some order.

From here we get a muted color wash, there but still slightly dulled.

The first hint we get of the saturation to come is centered around the touch.

We slowly fade into full blown saturation once Mob reaches back.

Fanfic bonus

The name meanings of Jun and Tetsuo, since this is the street where they live and why not ahaha.

There’s a lot of bird imagery in ABoT so I

“Kid, it’s like lifting a feather.”

And even tho Reig gets a cool halo from the streetlights n shit

We all know who the real angel is

Other fun shit

Mob’s outfit is based on Sakurai’s outfit when he was orphaned as a child.

I literally put the streetlight directly behind the hand in this shot because I lack subtlety and love it.

There are 2 times where I cut out a bit of (frankly beautiful) wordage in order to show things better visually. Both times happen when Mob’s stopped paying attention.

First with Reigen’s words just becoming a flood of nonsense pretty sounds.

The second when Mob’s thinking about the possibility of his barrier being gone.

also here u guys can have some behind the scenes shenanigans

Scene Transitions

An important part of structuring your story in any format is the transition between scenes. When not handled properly, time and/or location jumps in a narrative can become disorientating and confusing, making it harder for the audience to keep up with the action. There are three important things to focus on when transitioning between scenes: where the first scene ends, where the second scene begins, and how to connect the two.

It’s important that each scene have closure. When you leave a scene, you need to know that the goal of that scene was reached. If you leave the scene too early, before you receive that closure, your audience will be left hanging, feeling unsatisfied and off balance. You need to ‘cut away’ when the scene comes to its natural end, when everything is understood and the audience is ready to move onto the next idea. If you leave the scene too late, it drags your story, and makes it feel like the scene is longer than it is.

As with the end of a scene, the beginning of a new scene must feel natural. If you have to backtrack immediately after starting your scene in order to explain whats going on, then it means you’re not starting at the beginning of the scene. You can sometimes get away with doing this, if the reflection is placed naturally in the writing, but you shouldn’t try and push your luck. If all of your scenes start with an immediate backpedal to explain where everyone is, how they got there, and when it takes place, then you need to go back and fix some things.

Information about the change in time and location are important to include. If you didn’t, then it would be impossible for the audience to tell if, when or how these changes occurred. The most widely accepted way of transitioning between scenes is to detail the things done by the characters to go from scene A to scene B. They can do so by showing the transition between locations (“They walked the distance to the theatre, laughing the whole way”), points in time (“hours passed as she sat reading in her favorite chair”), or combinations of the two (“they drove for days, the grassy hillsides of home growing into a looming mountain range”). The information in the transition must do everything to set up the new scene that’s starting.

I am going to use a segment from “These Shallow Graves” by Jennifer Donnelly as an example of what not to do when transitioning between scenes. In chapter thirty-four, a scene is ending where the protagonist and her love interest meet secretly during a ball and make a plan for her to sneak out later that evening. The scene ends on an angsty moment as they both watch her almost arranged fiance dancing with the competitor for his affections. Chapter thirty-five immediately begins with the two of them having met up and halfway to their destination. It is then explained how the protagonist had left the party early, snuck out, and made it to the meeting point.

Feels kinda jenky huh? Here’s how we could smooth this out.

Their plan for meeting up that evening involves the protagonist telling her uncle (who an attendee) that she is feeling faint and using that as an excuse to leave the ball early. This would make more sense as a place to end the scene as it signals the beginning of the transition between locations. When she sneaks out the house is a good place to officially begin the next scene, as it signals another change in locations. Because the time spent at the protagonist’s home is not important to the overall story (her waiting for everyone to fall asleep) this could serve as the transition between the scene of the first and the scene of the second meetings. The cab ride from her house to the meeting place is also its own small transition, and is a good place to reflect on past information without interfering with anything else going on (such as dialogue and bonding between love interests).

Remember! All of the important things to keep in mind when writing scene transitions are:
Know where to end a scene.
Know where to begin a scene.
Know how to connect the scenes.

One of my favorite things about the mileven reunion is that everyone in the room shuts up and stands back because they all just know how much this means to the both of them. Like the world is literally about to end and yet they give mike and el their moment because they know how important it is for them.

unpopular opinion because ik we all love the inner circle characters and sisters but i lowkey want one of the novels to be about Rhys’s own healing arc as a survivor of rape. if there’s one thing acowar showed us, it’s that Rhys is NOT healed or over his trauma (how could he be there was 50 years of it) and I just want like an acomaf equivalent for him. I need to see him recover, I need to see him talk about his pain, I need a scene where he breaks down to Cass and Az, I need him to articulate his shame and then I need his friends to tell him that it’s not his fault, that he’s not a whore and that they love him no matter what

ik people might be tired of feysand but i really need a rhysand healing book. 

4

First vest I made (2014-5ish) vs the second(2017). To all the young punks and those just getting into the scene: don’t feel like you have to look a certain way or like certain things (alot of my first patches are related to YA novels for fuck sake). Give your self room to grow and to love what you make. Punk is about empowerment so make whatever the fuck you like.

things that i love about the last jedi (spoiler: allll of itttt)
  • poe fucking with hux at the beginning because i hate that greasy space weasel and it was so much fun to see him getting wound up to the point of twitching in fury (no don’t worry small angry man i will hold –)
  • the small porgs they are so round and cute and i wish to have about a dozen of them sitting on me at all times
  • the scenery: my goodness it is so so beautiful, it is the absolute best, every still scene is perfection. 
  • the outfits
  • the fact that we had lots of female characters in positions of power, in the background, just milling around
  • rose, who is adorable
  • finn, who continues to be The Hero We Need
  • the vice admiral with the purple hair who was the epitome of Reasonable Authority and died to save people MY HEART (also I get the feeling that she and Leia had lots of Fun Space Lesbian Adventures in their youth)
  • the crystal critters I KNOW THAT DISNEY IS GOING FOR THE TOY MARKET BUT THEY ARE SO ADORABLE
  • the exasperated look that kylo gives hux when hux starts giving the same orders as him But Louder
  • hux getting thrown across the room 
  • in general, hux getting his arse kicked
  • rey’s parentage. seriously happy that her story seems to be seperate from the Skywalker Family Drama, because i love the narrative idea of someone coming from outside the legacy and building it anew
  • rey continuing to be part savage desert creature and part endless love and teeth-clenched forgiveness
  • luke not being the perfect hero but making it right in the end
  • luke’s little wink and his “be seeing you kiddo” HE IS SUCH A LITTLE SHIT
  • kylo ren and rey kicking the shit out of those red troopers
  • finn kicking the shit out of phasma 
  • I’M REBEL SCUM
  • just in general, it was amazing and perfect and actually better than TFA 

so what sort of fanfic should i write