i rewatched lots of scenes and i just

anonymous asked:

As beautiful and visually stunning Enter The Void was it was the most boring movie i've ever watched. I couldn't stand it. I'm an easy person go please i like pretty much every movie i watch but omg Enter The Void was just something else.

hm, i understand why you would feel bored, there’s a lot of scenes where nothing is happening plus it’s a really long movie but god i rewatched it a few days ago and i remembered why i love it so much. besides the stunning looks there’s this creepy/depressing vibe that i love from gaspard’s work. those transitions from cute memories to FUCKED UP!!


#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


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.

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


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


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?

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.

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

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.

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.

Rewatching the “Na Na Na” video, I feel like Kobra Kid got most of the best scenes in the video. I mean, all the guys have great shots, but a lot of them are just generic Killjoy things–driving the Trans Am, shooting ray guns, punching Dracs, etc. But Kobra’s scenes actually hint at his personality and interests. We see him using a power glove, helping the girl hack into vending machines, doing a karate kick, reading “MURDER” magazine, and flinching and covering his ears at the sound of a gunshot. I think that’s a credit to how much personality Mikey gave the character. I feel like even Gerard saw Party Poison as more of a symbol than an actual character, but Mikey turned Kobra into a real character with a personality.

i’m calmer than yesterday… not actually calm but my brain can definitely function a bit better

and i’ve now rewatched the episode so many times that i’ve managed to narrow down my favourite scene to just one

in fact it’s not even a scene, it’s one tiny 8 second piece of dialogue really

when aaron says “i know i keep saying that i’m fine but-” and robert replies “about tomorrow? but you’re not. i know”

that moment is literally everything to me. i’m not even sure i can put it into any kind of coherent structure because a lot of it has to do with the delivery as well as the lines themselves 

it wasn’t just how soft they were both speaking, it wasn’t how raw aaron’s voice sounded and how gentle robert was in return. it wasn’t even that it was a slight subversion on their usual ‘but you know’ ‘i know’ tradition and somehow even more beautiful because of its differences

it was more the overarching meaning behind those two lines, because it basically encompassed everything that’s so pure and good about them together, something neither have experienced before

aaron could never open up to anyone about his fears, always pushed them down or let them out by hurting himself rather than talking it through. but robert was the first person he trusted with some of the most painful aspects of his life, the first person he felt comfortable enough with to talk about it to

and robert, someone who’s never been trusted, always the last person someone would go to if they needed help… suddenly he was someone’s go-to person. aaron had literally said it back in april: “i want to rely on you, robert” and robert had confirmed exactly how much that meant to him by answering “i want you to be able to rely on me, too”

and that’s it, isn’t it? they’re two people who each want to trust and be trusted, to love and be loved. and they’d never found it so completely before each other

and that’s what that tiny piece of dialogue summed up for me. aaron trusting robert enough to voice his deepest fears, knowing with absolute certainty that robert would be there to support and comfort him. and robert, held at arms length his whole life, suspected and accused and shunned, finally has someone who loves all of him, who wants him there through good times and bad, someone who absolutely relies on him for love and support

for such an understated moment, it really did say so much

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.

I’m rewatching the Supercorp scenes (again) and Supercorp has SO MANY cute scenes but this one is absolutely one of my faves.. 

Lena “I wanted to invide you to my party” Luthor is trying to convice Supergirl to attend her gala and Supergirl is trying to convice Lena to cancel the whole thing because it’s “definitely going to be a target for this gang” and then Lena is like “well that’s why I need you there to protect it” and she knows that with supergirl there she will be “safe” (she already trusts Supergirl so much, but I mean she did save her in that helicopter in 2x01) and then “well, you can’t live in fear” and “time and again you risk everything to see justice done. is it so hard to believe that I feel the same way?” Soulmates or what?! And Kara can’t say no to her because seriously, who could? And then Lena’s face!! Have you seen how happy she looks at that, I mean that’s one of her biggest smiles we’ve seen so far. It looks a lot like fangirling to me.. I mean I would be happy too if I had Supergirl (AND Kara Danvers) as guests at my party 

And then Kara leaves and Lena just kinda followes her and watches her with awe on her face? She’s so amazed by the hero, seriously I can’t with these two. It’s like they were made for each other <3

I’m rewatching all of the bughead scenes because well of course I am and when Jughead calls Betty “perfect” and she says that she hates that word. Idk I just have a lot of feelings about it. Archie called her that in episode 1 and it was a reason not to be with her. She was crushed but she didn’t say anything back to him about it. BUT here she does. She tells Jughead she HATES that word. I just think that’s a huge step for her.
Then later she let’s him in even though her mom advised her not to (which I get because of her past but COME ON Mama Cooper). She shows him what the pressure of being “perfect” does to her. She shows him that she’s not perfect. That she has flaws. Jughead takes this in. Doesn’t say “it’s okay” because he knows it’s not. Instead he KISSES HER HANDS. He accepts her flaws and still cares for (loves) her.
Even when they are fighting these two show healthy growth. Idk it’s just beautiful to me.

anonymous asked:

Dan's... liveshow... ??????

aoierjaoierj fuckkkk it was the best live show we’ve had from him in forever. i’m so happy about it. there was def some evasiveness on a couple of topics but overall it definitely felt like the most open communication we’ve had from dan in a longggg time. which makes sense bc obviously so much of what has been happening behind the scenes was weighing on him and now a lot of it has happened and is out in the world and the hard part is sort of (mostly) over, it seems. there’s such a tangible difference in his mood now compared to the live shows he was doing in march and i’m just so happy that things have settled a bit and that he’s clearly pleased with where he and phil have ended up. ugh i’m so excited to rewatch it fully (i’m at work and i was only half watching and i missed the end) and write about it–it feels like there’s so much to say!!!

Some More Things We Need to Talk About in ASiB

(From my latest rewatch— okay, it is literally NO JOKE that this episode is so multilayered that even completely obsessive assholes like myself are STILL noticing things 3 YEARS AFTER FIRST SEEING IT)

(Adlock ahead, come suffer with me or otherwise save yourself the trouble and stop reading):

First of all, BATTERSEA, MAN- this is getting a more in-depth post soon because there’s SO MUCH that just never occurred to me until now about this scene (particularly because 98% of conversations on this site concerning this scene have nothing to do with what’s ACTUALLY happening in the scene and just fantastically miss the best points about it, sighhhhh). So some other, more general tidbits:

* Irene originally says she can’t tell Sherlock she’s alive because “he’ll come after [her]”, which can be interpreted in two different ways: come after her with malicious intent, i.e. turning her in, OR coming after her with benevolent intentions, like trying to help her but ultimately giving her away to her pursuers. I’ve settled for interpreting it as the latter because she later says that she “knew he’d keep her secret”, so I don’t think it makes sense for her to be worried about him harming her then. Yeah, so is it fair to say that this line is more or less Irene saying that she can’t tell him because he’d follow her like a puppy making sure she’s okay? Or maybe I’m just reading too much into it? Idk, but I’m happy with this??

* I’ve gone back and forth a little over the years over how much manipulation Irene is attempting at Battersea vs. how much of what she says to John is truthful. I still think there are elements of both, but it never really hit me until now how absolutely vulnerable she is in this scene— both from what is written in the script and how Lara portrays it.

* Even though I think she’s mostly trying to get John to do what she wants (for a good reason…I mean, her ass is kind of on the line here), it seems like she actually cares a bit what John thinks of her. Again, it’s definitely a means to an end— in this case, having people on her side when she needs them. But it’s just interesting that she reads him her texts to Sherlock at all. She really didn’t have to actually read them all out, but I think she just wanted to drive home that she wasn’t sending him anything threatening. (Many people assume John’s been miffed about the texts before this because they’re flirty/he’s jealous, but he doesn’t even find out the nature of them until now. So that makes it much more likely that the real reason he questions Sherlock about them is because he’s actually just concerned that a dangerous woman has been texting him regularly— and worse, that Sherlock would fall for whatever plan she has cooked up.)

* Irene doesn’t disagree when John classifies the texts as flirting; she admits that she’s been flirting at him (though I don’t think it’s just out of infatuation—means to an end yet again.)

* John’s little smirk when they find Irene in Sherlock’s bed:

Uh yeah, what was that about John vehemently despising Irene for this whole episode?? Not at ALL, he’s just like ROUND 3, WHO’S READY FOR SOME 10/10 ENTERTAINMENT FROM THESE TWO ASSHOLES FROM ANOTHER PLANET

* John’s MANDALS

 Look I’m sorry, but this is a list of things no one talks about so I had to.

* EYE FUCKING #2272:

Srsly no one EVER uses that in gifs or anything?? He doesn’t even MOVE. And look at our girl just SMIRKING after that:

GOD, someone please give them a cupboard in a room in a mansion to themselves FFS

* “Why would I want to have dinner if I wasn’t hungry?” I’ve now decided that it’s possible to interpret this as Sherlock asking himself this rather than Irene, especially looking at how completely gone he is in that moment. (Basically, translate it to: why is my body telling me I want to indulge in something intimate now if it’s not something I have impulses for?)

* The younger of the two child actresses from the “people don’t really go to heaven when they die” scene is the same actress that plays Eurus trapped on the plane in TFP…(beat) Yes!…(beat)…I know, right???

* It’s v interesting to compare the way that Sherlock defines and identifies “sentiment” in this episode— as just a subtle involuntary response, by means of a pulse and pupils— vs. the clearer understanding he has of love (any and all kinds, honestly) by the end of Series 4.

* When you remember that our girl Irene was quite literally fighting for her life in Mycroft’s office (Honestly, you could say that her main priority was fighting for her life from Battersea onwards), it makes her loss and Sherlock’s cruelty all the more devastating. Not like I ever really forgot but…(sniff)