i rewatched lots of scenes and i just

please read!

ok so lately I’ve been thinking a lot about doing a series on my YouTube channel called “riverdale but only cheryl blossom” so basically I’d go through every episode and cut out all scenes that Cheryl isn’t in, or that aren’t important to her storyline and I’d post a separate video for each episode so it would just be all Cheryl. I thought maybe it would be cool to just go back and rewatch everything Cheryl, or it would be a good way to find scenes for video edits. I’ve been on the fence about it so please let me know what you think either in my inbox or in the notes!! :)

Steve “No One Touches My Kids” Harrington was one of the best things that came out of Stranger Things 2. | Redbubble

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#okay but this scene?? #isak initiating their first eskimo kiss?? #and like you can tell Even is a little surprised at first #but then he returns the gesture and smiles with so much fondness #probably thinking how cute this boy lying next to him is #and how happy and in love he feels at that moment

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It’s interesting because Star Wars continues to evolve and George when watching that scene, he really liked it, but then he went “Uhhh, we have to take that scene out.” “Why, George?” “Because the Sith can’t become ghosts. That’s not what they do. They’re so concerned with their corporeal existence, and wealth, and power that they can’t think beyond that. They don’t think about the afterlife. That’s why they’re all afraid to die. That’s why they’re always trying to figure out how to cheat death.” […] So that scene was cut. But that’s the cool thing about The Clone Wars. It’s the last George Lucas produced Star Wars. And there’s so much you can learn about that mythology by watching that show very carefully.

No wait but let me talk about the almost kiss

At first I was a little disappointed with it - I had pictured a lot more lips & saliva than actually was.

But then I started to rewatch the gifs from the scene and GUYS. Please look at how close Hugh Dancy comes to actually starting to kiss Mads. IT’S RIDICULOUS.

He bobs his head forward and comes SO CLOSE

and then comes EVEN CLOSER OMFG

and I don’t want to take sides here but Mads really just stays neutral and probably thinking, “well, it seems like I’m gonna kiss today” and makes an almost imperceptible movement forward, but then Hugh gets all shy and thinks again and looks down.

AND WAIT IT’S NOT OVER YET, because Hugh stays like, head down, breathing hard and grabbing Mads’ arm, and then, idk, his right hand SNAKES upward? till Mads’ shoulder, and FUCK ME, look at how fucking close those two are again because Hugh moved his face towards Mads’ again

and then he puts his head on his shoulder, and Mads makes that *orgasm!* face

and NO, STILL NOT OVER, then there’s the FUCKING WAIST GRAB (and jesus, look at how Mads buries his nose on Hugh’s neck)

which may or may not have been actively, purposefully, one-sidedly staged by, GUESS WHO, HUGH DANCY.

And all that was written on the script was “lunge forward”, YOU VILLAINS.

Those two seriously I don’t know how Bryan managed it for three whole years.

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i warn you, i’ll break your heart.
          a l r e a d y   b r o k e n.

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9x07 “Bad Boys”
Dean Winchester. Rockstar - Even without A Guitar, A Band or A Record Deal

Posted as part of the Series “Of Blood, Bone and Darkness”:
A Carver Era Rewatch Hiatus Meta-Series

Just look at him here. Especially the last gif. Dean always looks so young and surprised when he is shown these gentle types of affection when he doesn’t expect it at all - partially because he believes that no one could possibly like him as a person so much. He is so flustered here in such a sweet way and it’s just… It gives me heaps of feels.

I know there isn’t a whole lot I enjoyed about S12, but one thing I appreciated was this scene in 12x07 “Rock Never Dies”. Not only should Dean wear that leather jacket he wore to the concert at  ALL TIMES, I did like this little throwback in this scene.

I have talked about my headcanon for Dean and the “rockstar”-mention a couple of times over the years (but I’m too lazy to link you to the respective metas right now), so here only go the cliff notes. To me Dean’s rockstar mention back in 9x07 “Bad Boys” was partially just a “joke” while also revealing a little bit that Dean subconsciously always may have looked  for affirmance by others, being loved and appreciated - like a rockstar is celebrated. Because Dean never has never truly felt or believed himself to be considered a hero. That’s why I liked this moment in S12, where we see Dean play guitar, because it reminded me of Dean’s time with Robyn. No way, did she not teach Dean some chords and tunes.

I’m sure it’s been pointed out before but I just watched the departure scene of the game for the thousandth time a noticed a small detail that adds so much to the scene.

When Regis walks down the stairs after Noctis and says “I fear I have left too much unsaid” he falters in his steps for a second. It looks a lot like the pain in his leg doesn’t let him move for a second. And in a flash Noctis is at his side. Although we only see his back it looks like he’s reaching his hand out to help but Regis himself raises a hand to refuse:

And it just says so much about Regis and his pride. How he doesn’t want to be seen weak. And also about Noctis and his concern for his father. It’s such a beautiful little touch and it’s less than half a second long. This game I swear

Look I realize now that the scene where Will’s staring longingly at Hannibal while Hannibal performs life-saving surgery on the fly with his sleeves rolled up and his forearms bare is supposed to be Will realizing Hannibal’s the Ripper because he has surgical expertise but uhhhhhh I just now realized that after a second rewatch a year after I first saw that scene and a whole lot of meta because literally all I can see in that sequence is just mutual lust so heavy you could benchpress it

the scene wouldve been a lot different if it was like 

maggie: here’s the thing, i almost died today

alex *laughs*: bruh you got shot in the shoulder stop being dramatic

maggie: i ALMOST DIED, ALEX

alex: oh sorry i forgot you kept all your vital organs in your right shoulder, nowhere near your heart.

maggie: wILL YOU JUST LET ME HAVE MY EPIPHANY SO I CAN KISS YOU YOU DENSE LESBIAN.

Amara and season 11 just don’t work without Destiel

Based on my thoughts and seeing a lot of others thinking the same I went through and rewatched season 11 focusing heavily on Amara’s scenes, in the end putting them back to back to really look in detail and wowzers, that was eye opening.

As well as all the huge amounts of subtext throughout the season as usual, if you watch all of Amara’s screen time and follow her interactions with Dean and her overall storyline (which is the whole of season 11′s overall storyline, just saying) it just does not function without Dean and Cas’s bond. Without Destiel this whole season just… doesn’t work.

So, just looking at the obvious parts (I won’t go into too much detail as I wrote a whole other post about Amara as an exposition for Dean’s feelings here….).

Originally posted by nino-possy

The real ‘upping the game’ in the exposition of Dean and Cas’s feelings towards each other and, coincidentally, the overall arc of the season, comes from THIS POINT, where Amara is textually and visually put forward as a love interest for Dean. There is a clear parallel of Dean/Amara and Dean/Cas throughout the season 11 narrative and it is from THIS point that both Amara and Cas are portrayed romantically, directly mirrored and used in each others’ narratives. This is not a coincidence. 

If it were more referenced beforehand perhaps I may be a little more forgiving and allow more of a ‘platonic profound bond’ reasoning but it is precisely because of this clear move into a love interest role for Amara that Cas and Amara are then clearly portrayed as ‘good bond/love’ and ‘bad bond/love’. One is forced on Dean against his will and he clearly rejects it, one is at its core based on free will and he clearly is doing everything he can to save Cas, even going up against Amara to do this, a very well done full circle of parallels leading into each other… *ahh narrative tie-ins and mirrors - sighing with contentment*.

SO… Since the midseason finale and this scene:

We have the Amara/Love monster who tells us textually that she can “feel the love that you feel”, she uses the particular and relatively precise and uncommon word ‘longing’ which we all now clearly associate with Cas and praying, she talks about his feeling shame… Then moves onto Amara, reminding him of Dean’s way ‘out’, of the ‘bliss’.  For me although this isn’t Amara, the love monster does actually use the words “who I am doesn’t matter” and therefore it’s clear that the information she’s giving us is what is important. This is a clear exposition.

Dean then clarifies to Sam that “to call it desire or love…it’s not that”. So the love monster from Love Hurts - who was talking about Dean’s love and longing and shame… She uh, wasn’t picking up on love for Amara as Dean has explicitly told us that is not what he is feeling. So…. who might it have been referring to? 

The attempting expelling of Lucifer. Is just so much Destiel and has been covered so many times. All I’m going to say here is that despite “God’s freaking sister”, one of the two most powerful beings in the universe, being right there, Dean’s main concern is Cas to the point that he calls out for him in front of everyone else and reveals his weakness, not a particularly restrained or smart move for a trained hunter. Amara and Lucifer both notice this and we are meant to notice them noticing
Why is this important? To clarify that Dean’s bond with Cas and his worry for him outweighs his bond with Amara.

The longing scene. Again, much meta-d. Basics being, Dean is longing for Cas (while actually muttering ‘where are you Amara’ clearly worried for Cas as it is Cas not Amara he is talking to Sam about around this scene. Amara has an actual real, substantiated ‘bond’ with Dean through the mark, sure, but it IS NOT AS STRONG AS HIS BOND WITH CAS (which as far as I’m aware doesn’t actually have any real basis unless the hand mark or something has a role but hasn’t been touched on for 8 years so I’m going with no), ergo Amara has to use Cas to find Dean. Then yes, she totally manipulates him into coming to rescue Cas/Lucifer because Dean is such a good friend

After this we get another very interestingly subtextual scene where Dean and Sam are interviewing Donatello and it is only once Sam mentions the word ‘Angels’ that Amara again immediately finds and comes to Dean.

Again proving that Dean’s bond with Cas is stronger than his bond with Amara.

I particularly love the near-finale narrative, after she expressly tells Dean she cares for him and wants him to be happy, to have bliss - the sandwiching of Mary and Cas in her story which is so relevant to season 12 - how Amara shows that she is capable of just de-materialising Metatron in an instant because she is attacked and angry, she then notices Mary’s picture, she then is again attacked and angry but ‘saves’ Cas, essentially ‘resurrecting’ him from Lucifer’s control, then of course resurrects Mary.

( #Narrative parallels and tropes are a thing is one of my favourite tags).

These are all writing/directing/production choices that were made to show these scenes one after the other and revealing her choices here. Are we not supposed to wonder why she made these choices? 

Are we not supposed to wonder why Amara, all powerful being, is incapable of contacting Dean without going THROUGH CAS (who Dean expressly states is “small fry” in comparison to her), or having a conversation with him where Cas isn’t in some way referenced once she is herself portrayed as a love interest? 

Or why the writing/directing/production team made these choices? 

There is a clear narrative being told here.

If you watch all of Amara’s screen time throughout this season it is just so clear what she is exposing, what her interactions with Dean are based on, how her storyline does not function without Dean and Cas’s bond. I’m not saying her story is pointless, it clearly isn’t, just that it rests on their bond so this shows how extremely important to the whole story their bond is.

Any why? Why are we being shown all this, why are we being encouraged to question all this? I was just reading @charlie-minion’s excellent overview and loved this post with great insight: “The question in season 9 was “who do you love?” Whereas I think the questions in season 10 are “what kind of love do you feel?” and “whose heart are you gonna break?”. 

There is a clear and ever evolving question about Dean’s feelings throughout the seasons which has now kept on into season 12. I think these questions have been more or less answered now, the questions for season 12 and moving forwards are “is this love reciprocated”, which has already been answered textually, “will you be able to admit to this love” and “what are you going to do about it”…

Originally posted by sooper-dee-dooper-natural

Arthurrr!!! Buddy!! Mate! What… What are you looking at there? 

…Like, seriously, whatcha looking at? ‘Cause I don’t think there was a crying need to look down there, at that angle, towards that direction.

Also that guy on the left is smiling way too much while the guy on the right is just like: “For fucks sake, Arthur. Look at you man… And you’re saying Merlin’s the one in love.”. Not to mention, that guy on the right looks like he was glancing down to Arthur’s arse so… you know, idk. What was I talking about again? :P

Ahh yes! That place Arthur is looking at. There’s… a lot going on here.

Especially since he says ‘Merlin- is- a wonder.’ WHILE LOOKING DOWN

Like this show is too much BECAUSE THIS IS EPISODE 3! FORGET EPISODE 4 AND ITS ANTICS, THIS SCENE AND EVERYTHING ABOUT IT, FROM ARTHUR DEFENDING MERLIN TO THIS PART, IS JUST TOO MUCH. THIS SHOW IS JUST TOO GAY.

How these two managed for ten fucking years is a bloody mystery. Like I’m stuck on episode 3 and 4 looking at how gay it is and just… those aren’t even the gayest moments, they’re just the earliest ones. XD

save me

anonymous asked:

Hi! I rewatched tld yesterday and I noticed something I haven't seen pointed out before. In the scene where John and Sherlock are in Culverton's car before they're going to the hospital there are a lot of light effects in different colours projected on their faces. I first thought it was the blue lights from a passing police car but it's blue and red and green, possible other colours as well And it's not the "ususal" rainbow effect either, but like reflections from a mirror ball. What is it?

Hi Nonny!

Okay because there’s so many of them, I’ll just point everyone to the time frames 41:39 to 42:36 to see them:

John gets mostly the green lights (though sometimes the reds show up on him), and Sherlock mostly the red lights. I initially thought that it may possibly be the ambulance that is parked next to it, but as we can see in this scene:

… the lights up top of it are blue, so it’s not the ambulance. I then thought maybe it was a road in front of the car but…

… just a parking lot. 

Now, the possibility exists that it COULD be cars passing by in the lot and the headlights of the car are reflecting off of them, but then why specifically red and green lights? I have rewatched the long chunk between Molly picking up Sherlock and their trip to the hospital several times to try to figure out what it is, but I can’t seem to. It’s subtle, but very odd, because there’s NOTHING I can see that is supposed to be causing these lights.

This has me wondering if the lighting are reflecting the moods of each of them, or if they’re supposed to symbolize something… OR if they’re just there because they were pretty. Hmm. What are your thoughts, all?

I’ve had a few people recently ask me how I go about writing my fighting scenes and how I make them exciting and realistic (even with unrealistic weapons/magic) without having any real training myself. So, I’m just briefly going to make a post to reference people to.

It’s actually really simple: I watch and read a lot of fighting tutorials. Even before YouTube was a thing, I would watch foreign martial art films (not those cheap American-made ones with stunt doubles and stuff) and rent books on fighting and fencing techniques. Now that the internet is so easy to access, it’s appalling how many writer’s don’t take advantage and use it for research. YouTube is going to be your best friend when it comes to writing fight scenes.

I take notes and rewatch moves over and over, rewriting several different lines about the move I just watched. I probably spend about two hours watching them before I write a big action scene and I’ve been doing it for so long that it comes as second nature to me when describing fluid movements and the weight of a sword when angling it certain ways. But, knowing fighting techniques and their names doesn’t do much for the reader because chances are, they’re not going to know what you’re talking about. So that’s another reason why it helps to watch the movement of real people fighting with real weapons. One day I want to take fencing classes to get an actual feel for what I’m describing, but for now watching other people fight over and over has been an immense help.

I do a couple of things to keep it fast-paced. I keep surrounding descriptions short. You want to keep your reader in the moment. Going into lengthy explanations about sounds and smells and how many trees your character is surrounded by is great for building the scene, but not when the action is happening. Build the setting before the fight, give your reader some credit that they won’t forget where your character is. Not to say leave surrounding detail out completely during a fight but there’s no need for GRRM banquet hall descriptions when it’s life or death for your character. Some things to keep in mind:

*positioning—where are your characters standing/facing? What hand(s) are using the weapon and what one is free? When your character turns so does their direction.

*show don’t tell—this is important in writing anyway, but fight scenes is where this rule really really counts. Make your character out of breath, tired, sore arm maybe, sweating, thirsty, etc. Fighting is exhausting. Show it.

*Don’t make something conveniently aide your character during the fight unless you’ve led to that point first. I don’t know how many stories I’ve read where all the sudden there’s a door they just now noticed or a crowbar just randomly leaning up against a wall.

*Limit the dialogue—talking is a distraction, so use it wisely.

*It’s okay for your character to lose. They don’t have to win every fight. In fact, losing could give them incentive to try harder, which is great character development.

*Keep your points/attacks direct. There’s no need to go into lengthy detail about the flick of your character’s wrist and the way it twirls like a ballerina on one toe, slicing through the air with their pointed blade. Keep the poetics to a minimum and save those for a bigger fight. Not every fight scene has to be an award winner. Stay on point.

*Have fun. If you’re not having fun writing the scene, no one is going to have fun reading it.

If I remember anything else, I will be sure to add it in, but these are just a few tips about what I personally do when it comes to writing fight scenes.

So i just rewatched the scene where Clarke and Bellamy are arguing and she says, “I’m sorry–but I knew I could leave because they had you.” and I realized when he looked away that he was probably thinking, And who did I have? 

And now I have a lot of feelings.

anonymous asked:

reg, I just rewatched the 'leave the math to pidge' scene,, and the way keith says it is soo mf soft, and the way the whole thing is framed,,,, like they didn't have to /do/ that

god i know…a lot of people don’t like this scene because they think that keith is insulting lance and that he just made lance feel worse and like. the only thing that comes to my mind when people say it was a bad scene is “ding dong you are wrong.”

(more under the cut because this got so much longer than originally intended):

Keep reading

Lance used to talk to Hunk about Keith

Hear me out…

After rewatching ep 1 of Voltron for the nth time, I just started to think about something.

So basically I relate a lot to Keith, and one of the things I noticed is that in ep 1, is that Keith tends to stay close to Shiro and/or Lance. I’m assuming because those are the people he is more comfortable with. I mean, If I got stuck in space with a group of random people I would totally stay close to those I know better. Thank you very much.

Point is, I never saw Keith show he knew Hunk. Even during the bike chasing scene he calls Hunk “Big guy”

Which makes me think that Keith doesn’t know (or remember) Hunk.

Now there are two options here.
1) Keith and Lance were in a different class from Hunk’s
2) They were all in the same class

I personally believe more in the second option since in Pidge’s flashbacks, when we see Lance and Hunk at the garrison, they clearly knew each other, and from the “hasta la later, Keith” we know that they both knew Keith. 

Either way, Hunk wasn’t around Keith enough time for him to remember him but
on the other hand, when Keith appears and Lance says “It’s Keith” Hunk immediately replies “Keith? You sure?” while pidge goes “Who’s Keith!”
which leaves you with the idea that Hunk knew exactly who Keith was.

And how did he know that?

Definitely not because he was friends with him because Keith would have remembered him for sure. But because Lance talked to Hunk about Keith.
It’s pretty canon if you ask me.

Just want to note that Lance probably only talked about how he was going to beat Keith’s ass or kept declaring his rivalry. But point is, he certainly talked a lot about Keith, for Hunk to know exactly who Lance was talking about in that split moment.

going back and watching this scene in episode 5 is extra painful when you know exactly what’s going on in even’s head this time around:

you can just see him trying not to let his anxiety and dread show in response to isak’s offhand comment about his mother being insane. he’s already mentally preparing himself for the rest of the conversation

i can’t even imagine the weight of isak’s rejection here (especially considering the fact that isak, in his ignorance, has no idea that he’s just caused even terrible pain).

you can actually see even saying goodbye to isak in his head and thinking it’s probably going to be the last time he gets to be with him. i can’t even imagine how difficult it would be for someone with a mental illness to hear the person they have feelings for make the blanket statement that their life, “would be better without mentally ill people around [them]

isak has no clue that any of this is transpiring, of course, which makes it even harder to watch. but you can see even processing and realizing that, no matter how much he likes isak, their relationship isn’t going to work. not the way he’d hoped.

that’s part of why this show is so amazing; we get to see the consequences for such an off-hand, ignorant remark. every single line of this show is chosen so carefully and with so much weight and as a result, isak’s throwaway words are the catalyst for the entire back half of the season.