lots of running scenes

Some Thoughts: Storm in the Room

With the reactions post-Storm in the Room, I feel that Steven doesn’t get enough credit. Going to Rose’s Room, searching for answers, and comfort even though he didn’t know that yet, Steven wasn’t setting out to create a perfect mother or project himself the ideal version of Rose. He starts, the moment he enters the room, by saying he knew it wasn’t real.

Everything Steven did with Cloud Rose, everything that happened between them, were reasonable assumptions we could make of Rose. And this is because the Rose we saw was from Steven’s expectations of what she would be like. And Steven was wary about idealising Rose the way the Crystal Gems did. He says this explicitly several times. Also, Steven’s view of Rose was tempered early on by Greg’s stories of her. 

So the Rose we see isn’t a sad Steven’s attempt at finding the perfect mother figure. Steven’s attempt at a reasonable and believable portrayal of Rose deserves to be acknowledged. Had it not been the case, the Rose we saw could not have evoked the feelings she did. It’s because of the depth Steven introduced to her from all his memories of her that it was made possible.

And what I want to talk about in this post, is how the images of Rose reflect which narratives he’s channeling as he tries to piece together, quite literally, the image of Rose.

The first appearance of Cloud Rose shows her with messy hair, parts of it stick up and around her. Her facial expressions are often wiggly, for lack of better word, and she shows her thighs a lot more than in the succeeding scenes, either in cross-sitting or running. 

This Rose is goofy and funny and casual. And it’s the Rose whom Greg’s stories have constructed in Steven’s memories. 

The same scenes we see Rose hitch up her dress in the same way (such as when she’s reading books with Greg on the bed) or similarly goofy, like stopping a ferris wheel with her bare hands, she’s with Greg. 

Even the line Steven takes from her video in Lion 3: Straight to Video, about “every X being unique and beautiful” is shot in Greg’s presence. Without realising it, Steven is remembering this image of Rose.

And she cares about Steven. She engages in his interests. It’s not so far a stretch because some episodes back, Bismuth was willing to do the same thing. Rose was a fun person. There’s a running joke that she would have loved cheesy and corny jokes. She probably told a few in her day. 

She probably wasn’t always as poised as presented in her portrait. Greg remembers the Rose he changed, when she was starting to understand human beings in earnest and come to terms with how they could exist with gems on the same level. 

Rose at that point still didn’t want to talk about her past, and Greg never made her. So Greg and Rose made new memories and didn’t dwell on the old. And those memories were filled with fun and laughter and love.

The moment sobers when it is Rose not Steven, who gestures the latter to sit down and stare at the expanse of clouds.

And we should know that what we’re about to see means something has changed. The first hint is that Rose’s body language changes. She sits perfectly straight, even though she’s cross-sitting the way she was earlier. And we don’t see her legs anymore. Her hair neatens and her expression calms.

What’s more, her hands assume the position Garnet did in Here Comes A Thought in Mindful Education. And that emphasises the kind of role Rose plays in this moment. Steven felt Rose taught Garnet how to manage her feelings, because it was a motherly thing to do. In a very Steven Universe fashion, the music changes from the bright xylophone to a quiet piano music, which is the mark of another Crystal Gem, Pearl. 

And when we go back to the senior Crystal Gems and their image of Rose, it is exactly the way she’s presented.

Cloud Rose is a huge presence, with Steven a small child by her side. She speaks deliberately, every word is one of wisdom. She is magnanimous and comforting at the same time. 

She tells him, “But we’ve been together the entire time.” And it brings back the idea of how our parents are always with us, and a part of us, because one way or another they’ve left a mark on us.

At the same time though, the similarities of the scenes between this moment and the one at Rose’s Fountain in An Indirect Kiss, lead to the same end.

Rose is viewed as a godly icon, very distant from Steven. She’s not sitting beside him, playing with him, kneeling on the ground anymore. He looks up to her, and he can’t reach her.

In both times, he realises she’s not really there. That he talked to the statue of Rose in the fountain, confided his deepest insecurities about how he didn’t know how to feel about her when everyone else did, parallels the empty image on his phone.

And it segues into the next scene perfectly.

Because Steven doesn’t know how to feel about Rose. Now, he’s more certain than ever that he doesn’t even know who she is. The Rose we see at the end has a blank face, because Steven can’t project anything on it. He’s thinking of Pink Diamond’s shattering, Bismuth, and the Rebellion, and all the people hurt by them.

When he sees Rose, he can no longer see himself, which is why her eyes, one of the facial features most like Steven’s, (next to his nose) are nowhere to be seen.

And this Rose is distant, because there’s no mitigating narrative linking him to her. In the other scenes, the room remained the same, because these stories he was told of Rose and who she was firmly rooted the first two Roses as part of the real Rose’s identity.

This Rose is foreign, because nowhere in those narratives did Steven think it possible to for her to do the things he learned she did.

And in that moment he begins to doubt. 

Because he can no longer see the image of his mother, he doesn’t know where he himself stands. A huge part of his identity is being Rose’s son. What happens when the “Rose” part becomes fuzzy, blurry, and unintelligible?

What happens to the Steven?

Notice that this Rose is silent. She offers no response to the accusations Steven hurls at her, about all the people she hurt and her act of leaving them all behind. 

At this point, we see the part of Steven that understands Rose is gone. That he’s never going to get these answers and there won’t be an explanation coming from her.

There are some things he’ll never get to hear about, some memories he’ll never know, some experiences he’ll never share with her.

And it’s sad and disheartening and lonely. In losing his idea of Rose, Steven loses a part of his identity. Such that he felt it would be better if he denounced Rose, cutting off the part of himself he didn’t want to think about: That he was created just to fix her mistakes.

It’s then that we see Rose’s face for the first time since we’ve entered the paradigm of Rose-through-Steven’s eyes. Not Greg’s, not the Crystal Gem’s. Because these new things he’s learned about Rose are things the others would never have known without him. How else would they have heard the Diamond’s song of mourning? How would they have known Bismuth was there all along?

And the things Rose said in the tape were meant for Steven, in a space only Steven could find.

The Rose speaking to Steven at the end is the Rose who’s already spoken to Steven directly before, through the tape.

A lot of negative reaction has been given to this moment, because it feels as though the tape absolves Rose of everything she’s done. It doesn’t and I don’t feel that was the point.

The point of her saying that, was to reaffirm Steven’s belief in Steven. To show that it wasn’t about Rose anymore, that Steven’s birth wasn’t about Rose but about him.

And it’s striking that’s the only time we see her face again. Because immediately after, Steven hugs her, and her face is obscured. 

That’s Steven’s recognition that he’s never going to hear any other words straight from his mother for him. He understands and he realises that nonetheless, Rose is exerting a presence in his life. He really is always with her and never alone. 

The past few episodes and everything leading up to them were about Steven’s realising his mother was still an individual, one who could made mistakes and rash, selfish decisions. 

He was afraid that upon realising his mother could be a selfish individual, could do huge selfish things that affected thousands of lives, he feared the act of his birth, the most personal thing about him, was meant to serve her self-interests alone too. He needed a concrete and tangible answer, which was what prompted him to go to the room. 

At the end of the episode, he didn’t think that anymore. He knows he has a lot of work ahead in figuring out Rose’s place in his life, but the lingering doubt of the very foundation of his existence is gone.

And because of that, he finally feels comfortable letting her go.

Hawkeye (2012) #11

Okay so I’m not done with this and legitimately when I have time this summer in the season break, will probably end up writing some Savitar fic and will probably make it coldflash if I do.



12.18 and editing (examples)

Ok, so I was going to do 12.10 because it had the most requests, but it wasn’t available on the CW site anymore, so I’m doing 12.18. It actually turned out really interesting. Thanks to everyone who put in your suggestions. hopefully I’ll be able to look at the others soon. 12.18 was requested by @a-little-nerdy-dude-with-wings.

As you can probably imagine, watching for all the editing takes a while and would take forever to write out all the scenes entirely(at least until there’s a transcript out), but I did it for the first 2 major scenes of the episode. Later, when I have more time, I’ll post what I think the editing in the full ep means, but have some examples of what I’ve been looking at, and looking for until then. Feel free to use the information however you wish.

Quick info on editing for tv shows:

Dramas have multiple types of cameras oftentimes, but only one is used during each setup, so they’re called “single camera shows”. A multi-camera show is like a lot of sitcoms, where things are filmed in order and more or less live like a play.

Shows like SPN are not filmed in order in the slightest and have lots of footage with different angles. They’ll often run the whole scene from each setup several times so there’s footage from different angles.

Split into roughly 7 days, each episode for most dramas generally undergoes the following editing passes. Some at the same time:

3 Days- Editor’s cut. This is the initial cut from the primary editor. They have to have a knowledge of the current arcs and where the arcs are going. They really have to know the show extremely well and be familiar with the character and story arcs. They have to understand how the show is edited because it can have a multitude of directors.

2 Days- Director’s cut. Directors may only direct for one episode and they tend to try and leave something of themselves in the work for their own needs so they can continue their careers. This is a difference between film and tv in that the director can try and keep scenes that specifically make them look good. The footage doesn’t always stay though, depending on whether it gels with the producer’s vision.

2 Days- Producer’s cut. This is where the showrunner comes in and makes sure that whatever is presented works with the entire arc, their vision, what’s planned for the future, etc. This is the last pair of story eyes essentially. This is where any arc long interference would be corrected, theoretically. This is where minor tweaking would occur to sell the showrunner’s vision.

2 Days- Network and S&P cut. This is like.. Censor stuff/legal stuff/timing stuff.. Let’s say there’s a song in there that can’t be used so they ask for a different one… stuff like that.

SPN has never really liked fancy cuts. Most cuts in the show are just straight cuts. The fanciest they usually go are J and L cuts. (audio from the previous shot carries over to the next, audio from the next shot starts in the previous). They’ll use other cuts in special circumstances like smash cuts (tense to calm, or calm to tense) or crossfades(montages use these a lot), but J, L, intercut(back and forth between scenes) and straight cuts are generally how the show goes. In general, if SPN can achieve whatever it wants to achieve without cutting, it won’t. Shot density plays into that a lot. But if it wants to achieve something that can’t be shown with only one shot, it will cut wherever is necessary to get what it wants. Usually in the form of reaction shots.

More, and the examples below.

Keep reading

Snoring Tony

Just a little idea that popped into my head yesterday. Hope you all enjoy it!

Word Count: 360

Pairing: Tony x Reader

“My God, how do you put up with that?” McGee asked, sitting back in his chair at his desk linking his fingers behind his head.

You and the team had been on a case three days straight, with very little sleep and an awful lot running about, talking to witnesses, going to crime scenes, back and forth to Abby as well as visiting and processing the victim’s apartment. You knew it was all part and parcel of your job but a little nap wouldn’t go a miss.

You stop what you’re doing, fingers ceasing their movements on the keyboard and rub your eyes. You blinked several times, bringing McGee into focus, “With what?”

His eyebrows shot up to his hairline and his arm stretched out to his left, “That!” He laughed gesturing to the agent beside him, your boyfriend, Very Special Anthony DiNozzo.

Your eyes follow Tim’s hand and a dopey smile comes to your face, you blame it on the lack of sleep of course, “He’s adorable.” You murmur as you placed your chin in her hand, watching Tony. His mouth was hanging open, slight drool trail down his chin, he was reclined back in his chair with his legs upon the table snoring…loudly. You could watch him sleep anytime, anywhere.

“He snores louder than my ex-wife,” Gibbs announced his arrival as he stalked into the bullpen, rounding his desk to check his emails.

DiNozzo shot up in his chair with a loud snort, feet planting on the floor, “Yes boss.” He replied automatically trying to make himself look busy.

You and Tim chuckle quietly, “Go back to sleep Tony.” McGee starts to say and just as Tony leant back in his chair Gibbs slammed his phone down, “Grab your gear,” he barked, “another dead body. Same MO.”

The three of you scramble for your packs and as you let Gibbs, who chucked the car keys to McGee, pass and you linger back, pecking Tony on the cheek once you were somewhat alone, “You’ll be abe to sleep soon, Tony.” You whisper and watch him smile, slinging his arm around you, you both walk to and enter the elevator.

Episode 9′s Final Scene, An Analysis of the Images

A lot of people have posted on the words said in the last one minute and fifteen seconds of episode 9, and for good reason. But I want to take a look through the lens of the emotions displayed by the characters in the images we’re shown. Partly because the animation in this entire show is top notch, and the way the animators convey what their characters feel is just so damn human that I want to take a second to applaud it. But it’s mostly because what struck me most in this scene is the facial expressions of the characters and how raw this scene feels. It doesn’t need any words at all, because the images do such a good job conveying what is going on, and what the characters are feeling, and their relationship to each other. The whole show is like this, but this scene struck me in particular. Because we’ve been seeing Viktor displaying a lot more real, deep emotions recently (the carpark scene, the run and kiss, his dilemma over leaving Yuri). But this scene takes the whole fucking cake.

Both of them in this scene are so full of emotion and it’s reflected so well in their actions and their expressions.

Firstly, Viktor comes alone to the airport to pick Yuri up. Fukuoka Airport is about an hour fifteen by car, and an hour forty by train from the town of Karatsu that Hasetsu is based on so we know it isn’t exactly a short trip. And when Yuri came home in March for the first time in 5 years no one came to Fukuoka to pick him up, Minako meets him at the train station in Hasetsu but he makes it that far by himself. Viktor and Yuri haven’t seen each other for maybe 48 hours by this point. But Viktor still makes the extra trip, alone, to see Yuri a few hours faster than he would waiting for Yuri at the train station in Hasetsu. And that alone says a lot.

 But that’s not all, because Viktor looks like shit.

His hair is disheveled, and his eyes have bags, he looks kind of listless sitting there waiting for Yuri to show up. Nothing like the glowing, radiant star we’ve seen thus far. He has clearly not been doing well at all, the last 48 hours have been rough ones. And a lot of that is probably the stress of coming so close to losing his life-long companion, Makkachin. But Makkachin is fine, as we see, and is well enough to join Viktor on his trip to pick Yuri up so he has probably been out of the woods for a while. And yet Viktor still looks rough. But I’ll get back to this later.

Viktor’s immediate reaction to seeing Yuri is to jump up and run. He doesn’t wait to see if Yuri is running to him first, he just takes off for the door to get to Yuri as fast as he can. There are parallels to Episode 7, here. But the tone of the gesture this episode is much different. In Episode 7, Viktor could barely contain himself he was so proud, and excited, and all he wanted to do was surprise Yuri more than he surprised Viktor. That is definitely not the case here. Viktor is upset, not excited.

Yuri’s reaction to seeing Viktor, though, is shock.

Yuri probably figured he would be on his own until he got to Hasetsu like usual. He wasn’t expecting anyone to be there waiting for him, much less Viktor and Makkachin. Yuri wasn’t looking around expectantly for Viktor as he walked out of the terminal, he wasn’t looking for anyone. He was walking looking down thinking about what he was going to say to Viktor until Makkachin’s barking got his attention. That’s when he notices Viktor is sitting there waiting for him and he, too, takes off running for the door. There is no hesitation in his response, either. And the look of desperation on his face is so intense.

And the same look of desperation is mirrored on Viktor’s face as they run.

This is the single most intense moment of the series so far, for me, as far as the emotions shared between these two go. The Episode 7 kiss ain’t got nothing on this sequence of Yuri and Viktor running for each other, desperate to reach each other even five seconds faster. Because we know how much Yuri missed Viktor, he told us himself basically the entire episode just how much Viktor being gone affected him. But we didn’t have any idea about how much Viktor missed Yuri, or how it affected him, until right fucking here. And he looks just as desperate to reach Yuri as Yuri looks to reach him.

They’re looking at each other the entire way, too. Neither breaks eye-contact until they’re in each other’s arms.

Yuri’s face as he runs to Viktor’s arms just says “are you really here right now?” because he wasn’t expecting this, but damn if he isn’t going to throw himself at Viktor as fast as he can because the only thing he’s needed since he narrowly skated into the GPF was a hug from his coach, and friend, and the man who taught him what love is.

And then we get the most emotional expression we have seen from Viktor yet. I’ve made a lot of points in prior posts about how Viktor has spent years emotionally distancing himself from everyone around him, and how in earlier episodes we don’t get a lot of genuine emotion from him, but as the series has progressed we’ve gotten more and more. And all that character growth culminates in this incredibly emotional moment where they are so desperate to get to one another and Viktor looks so upset, and sorry, and like he needs this hug just as much as Yuri does. 

This is so reminiscent of Episode 5 where Viktor holds his arms out for a bleeding Yuri, but the tone is so, so different here. In Episode 5, it was because he was proud of Yuri. Yuri had done well, it was in celebration. Here, it is the opposite. They were separated, and Yuri did okay, but he barely skated through. He didn’t even make the podium. He is disappointed, and hurting, and he fucking missed Viktor like hell. But this hug is for comfort as much as it is an apology for Viktor leaving Yuri to fight alone when Yuri needed him most.

Viktor’s eyes are closed as he embraces Yuri, and this is the last clear shot we have of Viktor’s expression for a few moments. But the amount of emotion on display here is second only to maybe the carpark scene. He is sorry for leaving, and angry with himself for letting this happen, and concerned about Yuri’s mental state, and relieved to have him back in his arms all at the same damn time, and it’s probably the most complex emotion we’ve gotten from him in the series so far.

This hug is so emotionally charged I get choked up every time I watch it. He is so relieved to have Yuri back in his arms, and he looks like he never wants to let him go again. Because they’re both at really low points, here. Yuri did not perform as well as they both know he can, and Yuri almost missed the GPF - the goal they’ve been working towards together, that Viktor promised he’d help Yuri win - all because Viktor wasn’t there with him. And Viktor knows that, he’s probably been thinking about it for most of the past twenty-four hours. 

On the other hand, Yuri looks nervous on top of being upset. 

Because he has built it up in his head that he’ll have to let Viktor go eventually (a lot of people have posted other posts expressing exactly what I’m thinking on this, so I won’t rehash here) but Yuri has decided that after the end of this season he’ll be retiring and he’s about to ask Viktor a very important question, so he’s nervous, but also a little sad. Because he’s about to ask Viktor to stay with him for now, all the while thinking he’ll have to give Viktor up in the end. His eyes are angled away, he’s upset. Unlike Viktor, who just looks relieved to finally be back with Yuri, even if he is upset with himself for leaving in the first place.

And then Yuri pushes Viktor away to ask him to stay, and we don’t really get to see Viktor’s face for the majority of this sequence, it’s blocked by Yuri’s arms and the camera angle throughout. But we do get a glimpse of Viktor in the reflection of Yuri’s glasses as Yuri pushes his away:

And it’s dark, and blurry, but damn if he doesn’t look hurt, and confused. His eyebrows are raised, his eyes wide, his lips turned down in a frown. Like, “why are you pushing me away right now? I just got you back in my arms, don’t push me away right now.” 

Maybe he thought Yuri was going to tell him he wanted a new coach, because we know Viktor isn’t all that confident in his abilities as coach and Yuri did just flub a really important skate because Viktor left him alone (no matter if Yuri himself demanded that Viktor go back). He has probably been doubting his abilities as coach for the past 48 hours, which explains why he looks so haggard. And why his first words to Yuri are about how he has been thinking about what he can do as Yuri’s coach going forward. He’s been thinking about what he lacks as a coach, and what is best for Yuri, and his failures. But instead of blaming Viktor (which he would never do), Yuri asks him to stay with him until he retires. 

Which Viktor obviously wasn’t expecting. Because though we don’t get his full reaction, we do see the bottom half of his face:

And that looks like surprise, to me. His mouth is hanging open, he looks caught off guard. But he quickly recovers, and kisses Yuri’s hand. And he looks damn relieved. Like, he thought he was going to have to give Yuri up to a real coach before Yuri asks him to stay.

And then THIS face. The “of course, you idiot. Like I could consider going anywhere” face!

Which Yuri also wasn’t expecting. Because he doesn’t believe he can hold onto Viktor forever.

But the response makes him happy. And this fucking endearing smile. Just, the amount of love reflected in this one screen cap:

And Yuri steps forward back into Viktor’s arms. His expression is different this time, and he just looks content. He looks relieved. Viktor is going to stay with him, for now. They’ll go to the Grand Prix Final together, and he can hang onto Viktor a little longer.

Except Viktor then tells Yuri that he never wants to leave him, in so many words. Because that is what Viktor is implying. On first watch, I got scared. Because of the word choice used it kind of sounds like Viktor might be acknowledging that he’ll have to leave eventually, which is why he wishes that Yuri never has to retire. But on rewatch three of this scene, I ignored the subs and just focused to Viktor’s tone of voice. And he doesn’t sound sad, or morose. It doesn’t sound like a “we don’t have nearly enough time” it sounds like a fucking promise. Like “I have no where else I’d rather be than with you.”

And Yuri realizes that Viktor doesn’t want to leave him, just as much as he doesn’t want Viktor to leave. Maybe more. And he cries. And it’s different from episode one, where he’s crying alone in the bathroom because he lost, and episode seven where he is having a meltdown in the carpark because Viktor just tried to shatter his glass heart in an horrendously unadvised move.

These are tears of relief. Because maybe he won’t have to give up Viktor, after all.

anonymous asked:

i think that CS is the second biggest problem in OUaT, the first would be all those random characters that appear only for 10 episodes and then leave. The show spends so much time on them and then they just disappear. I mean OUaT has some main characters and then guest stars,there is almost nothing in between .Therefore the leads have no friends or basically no one outside of the family. All these hit me when Regina and Snow took Emma out for drinks .Emma's only friend is Regina, Snow's only 1/2

2/2 friend is Regina, Charming’s only friend is well again Regina .So all i wanted to say is that they could use some of the guests in that way. For example Tink could have been Regina’s friend outside of the family, Ruby could still have scenes with Snow , some prince could have been Charming’s buddy. Why the hell are they bringing people that don’t stay? I swear i have never seen this before

True. Captain Swan is just a side-dish, a result of severely lacking writing, simply put. Because some writers are plot-first novelists, others are character-first novelists. And Brothers Dim (and their little team of wannabes) are neither. I mean, they were apparently good at ‘hero essence capturing’ (which is in every writing manual that talks about archetypal characters, and they’ve only been developing S1 for like… a decade?) in a way of showing basic understanding of the inner workings of a solid hero, you know–how to show what is at their main character’s core. And it worked really well in S1 where there was basically a lot of exposition and more of a setup for character development that was supposed to ensue, you know–from S2 onward?

Only it didn’t. So if we’re talking about main characters, they had some start/stops (and first more serious inconsistencies) with Regina, Emma was just more solidified in her basic conflict, while with Rumple they clearly had no idea what to do with (which direction to take him in, but then when he ‘had’ his son back…they completely screwed it up by not going there, at all) and there was literally no development with Snow and David (between each other, only a little bit with their daughter) apart from a shitload of flashbacks which were now not background–but just basic, instant exposition for these new random pointless characters. And that was just season two. After which, it only got worse. Because if that’s how they write main characters (at this point there’s absolutely no consistency, as everything’s plot driven–and all plots are shallow and vapid and deus ex macguffin resolved?) what can we expect for the side-characters? The guests that you mention, that honestly no one gives a rats ass about because we all know that they’re there just for that episode’s plot purpose–and never anything beyond? When they for instance already had so many great characters (Ruby, Archie, Kathryn, Ashley–basically ANY conceived and left completely unused after the very first episode that gave their exposition) that they did absolutely nothing with, really?

So at this point a lot of us are still hung up on foundation of the story, and the… squandered potential, really. Like say, Swan-Mills family (as the three of them always had that link, and developments that are the only ones that still make sense), the way they were despite horrible character digressions and regressions (the focus on the family, rather then Emma’s and Regina’s atrocious ‘romantic’ choices) and… why we either lament the loss (“where’s Emma Swan, she disappeared seasons ago?”) or fanwank and fix it (”fancifiction does it better”). While in reality, we have just too much convoluted stuff (plot wise, I’m not talking about characters being degraded and rendered beyond recognition in OOC-ness like Emma has been, for purposes of romantization of her boyfriend), a lot of running on spot, way too many insipid dialogues and scenes that only serve to engage the audience through action. With very little essence, and development. Now, a screenwriter can write these stereotypes but then it’s up to the director, the casting director and the actors to give depth to otherwise flat characters. So the screen-writer might write a generic fop character and get away with it if the rest of the process adds up, and you get a better result? It is a two-fold process that can help them turn the literary characterization of their leads into explosive material, but…

OUaT has been horribly flat in that department for way too long now, so is it any wonder if we wonder at what point have they given up trying–and why?

Diana and No Man’s Land Analysis

As Diana walks to the trenches before No Man’s Land, she passes different people in need that she wants to help. Her companions tell her that there’s no time to help them. Again when she reaches the trenches and talks to the woman with the baby she feels compelled to help. Steve tells her that they have a plan, a mission, and charging through No Man’s Land to save the woman’s village is not a part of that mission. Steve isn’t wrong here. In dealing with issues, normal people have to prioritize what to do. He’s tactical. He’s experienced. He’s a realist. Diana, however, wants to save everyone and believes that saving everyone is the best plan to have; and in this situation her plan works! She crosses that field and liberates the hell out of that village! And goddam if she isn’t inspiring as all get-out!

I have a lot of thoughts about this scene running through my head, but I just want to touch on a few:

1) Seeing the argument between Steve and Diana about whether she should help the village, I realized that pretty much no one is Diana (at least I feel goddam sure I’m not). I’m not talking about being a goddess or a superhero. I’m talking about how instincts towards altruism and idealism are squashed out of people quickly today. Often it seems like the more one wants to help people, the more that person is reminded that she can’t save everyone. This kind of helper that has a heart for all humanity is forced to shrink her love for the world down into smaller, more manageable pockets. This isn’t a bad thing. It’s just life most of the time. HOWEVER, sometimes those bigger goals are achievable. All it takes are A) multiple people who have a desire to help, and B) a leader with that greater idealistic view to go before everyone else and clear the path. That’s what Diana does. She hasn’t yet been conditioned to forfeit lives seemingly outside her reach. (Jesus, Joan of Arc, Ghandi, MLK are all other examples of people who went before.)

2) Whereas many idealistic people are forced to shrink the whole world into a view for just their own lives, Diana has an inverted experience. Until she leaves her home, the whole world to her is basically that island (even though I’m pretty sure she had knowledge of the rest of the planet). Once she leaves Themyscira, she projects her worldview from her small home onto the rest of the world. While most people, like Steve, retract the tendrils of effort they put into issues and concentrate them in one area, Diana expands hers from simply trying to defeat Ares to fighting for all of humanity. Diana’s idealism is fruitful, too!

3) No Man’s Land is a metaphor for the state where people know that there is a problem (social or personal), but fear, doubt, exhaustion, pessimism, etc. keep them from dealing with it. It’s uncertainty. It’s that situation where everyone is looking to someone else to solve the problem. It’s when someone’s heart stops and no one calls 911 because everyone expects someone else to do it (in psychology this is called the bystander effect). In this example, all it takes is one person stepping up, assigning a person to call 911, another to get an AED, and another to assist with chest compressions for things to be taken care of properly and for a life to be saved. Diana does this when she crosses No Man’s Land. She jumps starts that change and leads people to save lives.

Dylan O'Brien - You Talk About Having A Baby (PS PT 1)

warnings ; none

prompt ; in which you and dylan discuss the possibility of starting a family.

a/n ; i reached 2.5k a long time ago and i kept putting it off, but the votes were tallied and almost everyone voted for dylan o'brien!! so this pregnancy series will just be your journey as you two slowly become parents. hope you all enjoy! (:

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‘Civil War’ Audio Commentary By directors and screenwriters

It is for the record and all about RDJ thing or related.

MARKUS: It’s also Robert’s last shot, right? ‘Cause he had to shave the beard in order to shoot it.

JOE: I think we have to really, um, give a shout-out to Alfre Woodard here for doing a, you know, very small part in this movie, but a very integral part. It was so important that the audience feel the emotional impact of this and to have an actress of her calibre performing this for us was an incredible gift and a real favour.

ANTHONY: It was Robert’s idea, actually, to cast her. He brought her up for that role ‘cause I think he knew how important this scene would be for the character.

McFEELY: And even on set it was pretty clear. “Oh, wow! Wow!”

JOE: Exactly.

JOE: Robert is an incredibly big personality on-screen and you have to have an incredible actor or actress opposite him to hold the screen.

McFEELY: That’s right. He does not talk much in that scene.

JOE: We did a lot of work early on with Robert about the character and our big pitch to him, because he was not contracted to do this movie… We had to go to him and pitch him the film and get him creatively vested in the film, was that we were gonna take a very different approach with Tony Stark. That we were gonna make the character off-balance and emotionally vulnerable and, uh, insensitive and that, you know, he’s going to be in a real place of confusion. He’s dealing with emotions that he hasn’t had to deal with before. And that his moral centre and his narcissism are coming into conflict with each other. And he has to make a choice to submit his ego to the government.

McFEELY: And I think that’s being responsible to the movies that have come before. I mean, you know, you can’t blow off things like Ultron. If you do, then you are just spinning your wheels.

JOE: Right. You’re just making movies…

McFEELY: If he doesn’t learn from his mistakes, we will eventually get sick of him.

McFEELY: Uh, l kind of copped to the idea that Robert brought the pens in.

JOE: Yes. That was actually… So, our process with Robert… We could talk about the process with Robert a little bit. Robert is a very, um… I know the term is thrown around too much, but he’s an organic actor. He likes the mercurial part of the process, inspirational part of the process. And he really has to get under the skin of a scene in order to understand it on an emotional level for his interpretation of the character. So, what all of us would do, is every week before Robert would shoot. And I think he was on the movie for about eight weeks… We would all go over to his house on a Sunday, have a very lovely lunch, and then we would sit for a few hours and talk through the scene with him and Robert would do some improvisation in character. And, you know, the guys would write some of the lines down and then we’d talk through the structure of the scene and then, you know, without compromising the story in any way. Which, really… You know, Robert is incredibly additive, um, certainly in terms of character ‘cause he knows Tony Stark better than anybody on the planet. Um, and extremely inventive in his choices. And the pens were an idea that he brought to the scene as a way to represent what was going on between Cap and Tony in the scene. And it adds for a very lovely…

McFEELY: Oh, it’s great. They basically… It gives you a beginning and an end to that scene.

MARKUS: So, the nerves of Tom Holland being in a room with Robert Downey Jr. are 50% of the scene, and the rest of it is acting like you’re nervous Peter Parker being with, uh, Tony Stark. So, it’s just jazzed up by the fact that…

McFEELY: The dynamic is the same in life.

MARKUS: This kid is in the room with this huge actor.

ANTHONY: Also, this scene is so interesting, too, because it is… We used a version… You guys wrote a version of this scene to audition the actor. And we did screen tests with several actors with Robert Downey Jr. of this scene. A different version of it. But the thing is, we got to really work the hell out of this scene, both with the actors and you guys in terms of what the structure of the scene would be. And I think, this scene is one of my favorite in the film. But it’s interesting that it was a product of a lot of… We had several runs at the scene, so to speak, before we actually had to commit to it.

ANTHONY: Well, also, for a young actor, it’s like… One of the things I was always struck by in this scene is, to be able to act with Robert Downey Jr. when he’s giving… Like, Downey gave this scene his all. He knew how important this scene was. He knew how important Tom’s performance in this scene would be, as well as his own. And he gave this scene so much and he helped… You know, it’s like, you're never gonna be a better actor than when you’re acting across from Robert Downey Jr. It’s an amazing thing.

ANTHONY: He does something here, this line right here about the leg. So, Tom, you know, forgot the blocking of the scene. And of course, that’s Robert staying in character, telling him you’re supposed to move now, so I can sit on the bed.

McFEELY: Fabulous.

ANTHONY: But he’s Not only does he use it, but he uses it in a way that’s really entertaining and fun.

JOE: And becomes one of the better moments in this.

McFEELY: He really is great.

ANTHONY: With him totally in character. I mean, that’s such a dexterous and inventive move on an actor’s part.

JOE: I will say that…

ANTHONY: You don’t see that very often.

JOE: To pick up what you were talking about, Anth, this… There’s been many, many, many a moment where I went, “That’s why Robert Downey is Robert Downey. ” But no moment more so than when we blocked this scene with him and with Tom Holland. You know, we knew how important the scene was. And we showed up to start blocking the scene. And, you know, we knew we had about an hour and a half, two hours to do it because we were gonna take the time to get it right. It was a very small space, so there’s not a lot you can do in this scene. But if you notice, they move quite a bit in the scene. And after about 15 minutes of blocking, I saw Downey and I… And this was where I went, “This guy is an absolute genius. “He really understands movement and spatial relationship to camera.” He started moving around the space and Anth and I just kinda stepped back, and we watched as he encouraged Tom’s blocking throughout the whole sequence and… And, you know, making suggestions. “What would… If you went over to the bed at this point.” Or, “What if you… ” And the whole scene developed between he and Tom. Uh, and it is… We’ve seen the movie with a lot of audiences now, at the premieres. It’s always regarded as one of the favorite scenes in the film.

McFEELY: It is charming.

JOE: Uh, and it’s really… A lot of credit goes to Robert for helping Tom craft a star-making performance in the scene.

ANTHONY: This is the kind of scene where, as directors, you have to be very sensitive with actors, ‘cause what Downey was doing in this performance while he was watching the tape is so complicated. It’s sensitive and raw. You have to be very, uh, specific about your shots. You know, you can’t ask an actor to shred themselves emotionally like that.

McFEELY: So, literally, you planned on only doing this a few times?

ANTHONY: Exactly. ‘Cause you know, you can’t dial something up like that over and over.

JOE: And he wasn’t watching anything. We hadn’t shot this yet. I was literally standing off camera with the script just reading what he was saying.

McFEELY: Well, yes, and I remember you gilding the lily at times. You know…

JOE: Yes. I was trying to…

McFEELY: And now they’re pleading! 

JOE: Yes.

McFEELY: They’re screaming!

JOE: She’s begging for her life!

JOE: I did try to goose him emotionally, yes.

McFEELY: No. It worked great.

I had a wonderful idea!!!

Imagine for a moment Jack is ready to come out, the PR prepares a statement and everything, but the thing gets leaked.

Later on in the emergency press conference, Jack accidentally let’s slip that he’s seeing somebody from Samwell.

Bitty panics. They had a plan!

He’s not out to his parents and they were going to wait till he went back this summer, told them, explained he was dating Jack, gave them a crash course on what to expect from the press and then be in Providence with Jack when he read the statement.

Now, you know that saying that the best place to hide a book it’s in a library? Because the Samwell team does.

Ransom, Holster, Shitty and the frogs give different and ‘exclusive’ interviews with different news channels about how they are dating Jack Zimmermann.

The rest of the team, the ones we never see but are about 20 people, also give interviews or make tweets, Facebook posts and statements staying they are dating Jack Zimmermann.

And since Jack never said the person was still going to Samwell, alumni players catch up on what’s going on and start making statements of their own.

There are reporters around of course, and they are all annoyed and frustrated by this, but doing their best to ‘report’ the news.

Bitty gets caught up on the way to class and asked if he’s Jack Zimmermann’s boyfriend. Before he can freeze, Lardo elbows him and then he smiles his polite southern smile.

“Of course, I’m dating Jack.”

“How did it began?” Reporter asks skeptically because she already asked 3 other people and they all gave ridiculous stories.

“Well, the day he graduated I was feeling a bit emotional because he was leaving Samwell and we said our goodbyes, I came to the haus and was waiting for the shuttle to come pick me up to the airport, when Jack suddenly showed up after running across campus and kissed me! We didn’t talk much because then he had to leave to meet his parents for dinner but that’s how it started.”

Reporter, even more skeptical. “That sounds a lot like a movie scene. With you know, the running before you go to the airport part.”

“It was very special.”

“Uh-huh” says reporter convinced that the story it’s 100% bullshit and that Canadian-robot Jack Zimmermann would never do something like that.

And basically for a month you have all of Samwell claiming to be dating Jack, giving ridiculous stories and trying to be the most convincing choice.

Shitty posts pictures that frankly are hard to disputed of him kissing Jack’s cheek while naked.

Ransom posts photos of his own where they are golfing and have matching outfits.

Holster has a photo that kind of looks like he has his arms around Jack’s neck, which is kind of true only he was trying to strangle him after a very heated monopoly game.

Bitty posts one of them baking and throwing flour at each other.

There’s online polls about who is the real boyfriend and like imagine people being super invested in this, bachelor style.

Bitty it’s like in the 4th place because people think his stories are super cute but totally made up, like 'Jack bought me an oven for my birthday’ seriously dude, put some effort into this.

They do a hockey themed puck ceremony when they are ready to come out, it’s ridiculous and super dramatic and Jack looks pained to be involved in this but it’s awesome and the Internet loves it.

Sleepless Nights Pt. 6 (Newt x Reader)

Chapter 6

Part 1 Part 2 Part 3 Part 4 Part 5 Part 7 Part 8

Dedication: @thesniffler @i-ship-it-ironically @rosiebeck @macyl0819 @internetoverdose01
a/n: I’m aware Tina probs wouldn’t do something like this. But, firstly, anger, rejection, and jealousy makes people do strange things. Secondly, it’ll make sense later on.

Word count: 2100+
Warnings: jealousy, angst, slight cussing (I cried while writing this towards the end)


The next few days passed quietly, the house unusually silent and tense. Queenie avoided you a lot, which made sense because the scene between you and Newt kept running vividly through your mind. You could still feel his lips pressed against you, fingers running along your skin, teeth scraping and tongue soothing.

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Legends of Tomorrow | 1.02 / 2.06

When someone on the team has difficulty with self control.