reverse angle

Summary: After Betty confronts her dad about Polly’s and Jason’s engagement as well as learning about the Coopers - Blossoms feud, there’s only one person that can take her mind off things. (Takes place after Betty’s and Hal’s fight and before Bughead’s scene at the Blue & Gold.)

(Taking a small break from your prompt requests to write something that stuck in my head and I had to get it out lol. I was listening to Let It All Go by Birdy feat. Rhodes and I had way too many feels so yeah… Hope you like it guys!!)

The Hitchcock blonde was once again locked in her floral pastel room that nowadays didn’t seem to match the air of depression that spread around the whole town and, most specifically, this very house. Soft music was playing in the background, the girl wanting to silence down the million thoughts that were running inside her head and suppress her still boiling anger and deep disappointment at both her parents. Usually, her mother would always win first place in the list of people Betty felt smothered by but after that evening, her dad was ranking a close second. She was at least thankful that he had the good sense to let her be, keeping himself busy in the house office downstairs for hours.

Dear Diary,

I don’t even know who my parents are anymore. How can the two people that are supposed to be everyone’s most valuable confidants in life, hide behind so many lies and weave webs of conspiracy and mystery around innocent teenage kids? How can I not know what is going on in my own house, with my own sister? They keep pushing me to drop the subject, stop snooping around and bury it all under the carpet like they did and for what? An idiotic vendetta that probably costed the life of two kids that did nothing wrong but fell in love. Why do we have to break so hard? Why does my life get to be filled with such uncertainty and fear of what the future will reveal next? I dread even to think about the obvious, I try so hard to hold my mind back, for it to not go there but it is already there and I feel scared. Sometimes I wish I was just another person, the identity of Elizabeth Cooper to not weight so much on my shoulders…”

The characteristic sound of pen against paper stopped and the red ink covered peak hovered over the rest of the empty line, Betty taking a moment to breath and slow down the gradually quicker raise and fall of her chest. One of her usual panic attacks was the last thing she needed right now, she thought and closed her eyes, dropping her head back against the wall, clutching the teal cover of her diary inside her icy cold fingers. She didn’t know how many hours had spent there, sitting on the wooden bench of her window and pouring into paper the anger and extreme sense of unfairness she felt after the fight she had hours ago with her father. But the worst of all, she felt hopeless, too small in a secret too big for her to handle, something that made her eyes whale up with tears again. She brought a palm to softly swipe the corner of her right eye in hopes of stopping the waterfalls but she failed, letting them finally be and watching as they soaked the paper in small shy droplets.

The chime of her phone had her eyes lazily turning to the side to face the machine, not in the mood of interacting with people right now. The message that brightened the screen surprised her though.

Don’t cry. Please.

Keep reading


Duluth Ore Run—Part One

Here we see a contemporary ore dock run on the Canadian National in Duluth, Minnesota. The loaded ore jennies come down the hill (from Proctor) using the former Duluth, Missabe and Iron Range Railway. The engines first run around the train so they can shift the cars about for unloading of the taconite pellets on the massive ore dock on St. Louis Bay. The images and map here allows us to examine some of the former railroads at this particular area of Duluth as well.

The first image shows the engines on the dock after arriving. Below the dock we can see the former Northern Pacific tracks to the left and some tracks making up Missabe Junction on the right—where the DM&IR and Duluth, Winnipeg & Pacific Railway converged. In the second image, a reverse angle, we see the engines after having moved around to the rear of the train for shifting. We see a second dock in the foreground that is no longer is service as well as the same Northern Pacific tracks below.

In the third image we see the former roadbed of the Duluth, Winnipeg & Pacific running under the docks. It intersected with yet another railroad, the Soo Line, near this spot. And in the forth image we see the train gathering up the empties and beginning to inch its way over Grand Avenue. The train will soon head back up the hill—which will be the subject of tomorrow’s entry.

The map shows the where the photographs were taken. Four images by Richard Koenig; taken April 17th 2017.


This is not mine but it belongs to a film Robin is in called The House Is Burning..its really good! Credit goes to the movie and original uploader

screened at the Cannes Filmfestival 2006. Produced by Reverse Angle International and Academy Award winner Alex Gibney with support of the Medienboard Berlin-Brandenburg and German Federal Filmboard, FFA. Executive Producer Wim Wenders.

Starring Academy Award winner Melissa Leo, Robin Lord Taylor, John Diehl, Emily Meade, Nicole Vicius, Joe Petrilla, Julianne Michelle, Harley Adams

mad max scene breakdown: “can i talk to you?”

I’ve been kind of joking that I could record my own MST3K-style DVD commentary for Mad Max: Fury Road, because there’s something to talk about in every scene, and usually there are like ten things to talk about. It’s filmmaking on the highest order.

The “can I talk to you?” scene between Max and Furiosa is a great example of this. It runs for just a minute and forty seconds, and includes just ten sentences of dialogue. But it’s a key turning point in their relationship and a great example of the kind of storytelling tools the film relies on. So for somewhat arbitrary reasons, that’s the scene I’m going to talk about here, going line by line.

We start with Max working on his blood map, which he instinctively hides from Furiosa even though he’ll show it to her the very next morning.

“Can I talk to you?” she says. The in private is silent but we get it when she walks all the way to the end of the War Rig.

She’s wrapped herself up in this Vuvalini blanket–the only time we ever see her cover her arms or really do anything to significantly change her costume. She’s a guarded person who’s about to make herself very vulnerable by admitting she wants him to stay, so she needs some extra protection.

She leads and Max follows, and they line up like this, with him a step behind her (isn’t he always?):

These characters hardly ever talk to each other directly face-to-face, which is part of what makes the little moments when they do look each other in the eye feel so intense.

The back-to-front blocking also means that when the person in front turns away from the other, they’re turning toward the camera, revealing to us what they’re hiding from the other character. We’ll see how this trick gets used throughout the scene.

Also note the Vuvalini in the background–doubtless waiting to find out if this fool is as reliable as Furiosa says he is.

“I’ve talked with the others. We’re never going to have a better chance to make it across the salt. If we leave the rig here and load the motorcycles up with as much as we can, we can maybe ride for a hundred and sixty days.”

Now we’re looking with them at the salt flats they’re talking about crossing, which look eerily beautiful but also pretty endless and unforgiving.

“One of those bikes is yours. Fully loaded.”

Furiosa is already looking at him before she says this, but Max turns his head at this line–the weight of someone giving away supplies and transportation in a world where people kill for those things is not lost on him.

“You’re more than welcome to come with us.” 

This is a woman who speaks in short, blunt sentences with no filler. And yet he is not just welcome, but more than welcome. She is basically saying I need you, don’t go, and the associated vulnerability is scary enough that she has to look down and away from him when she says it–

–but she looks up again right away to see his reaction.

And now we’re in a close-up and the reverse angle so we can see Max’s face for his answer:

“I’ll make my own way.” 

He reflexively says no, because his instinct at that point is still “run the fuck away as far and as fast and you can as soon as you get the chance.”

Oof. She turns away from him to hide her disappointment–which means she turns toward us, so we get to see it.

You can almost see her internal monologue going on in her facial expressions. Right. Of course he said no. He won’t even tell you his name. Stupid to expect anything different. What is wrong with you?

(Her reaction is even clearer in a gif set–look at #6 and #7.)

Max is watching her and appears to be thinking really hard, and maybe trying to identify some feelings he hasn’t felt in a while. Maybe he has the realization that he should have said something different, but he’s still too defensive and scared to reconsider.

She turns and walks away from him, so now their blocking is reversed; he’s in front and she’s behind.

“You know, hope is a mistake.”

And now we have a shot where they turn and meet each other’s gaze at the exact same moment–boom. Because now that he’s said he’s not going with them, we just have to twist the knife with a reminder of how connected they are.

“If you can’t fix what’s broken, you’ll go insane.”

Now it’s Max’s turn to turn away from her and toward us, because that line is not about the challenges of motorcycle maintenance in the desert.

And we hold on his face being all haunted and thousand-yard-stare-y until we fade into the next shot, where we see the consequences of his decision: he’s alone as the rest of the group rides off.

Max is a little slow on the uptake when it comes to feelings, so even through he rides after them immediately after this scene, his equivalent moment of unadulterated I need you, don’t go vulnerability doesn’t really come until Furiosa is dying–when the filmmakers can just rip our hearts out with it, because the realization might be too late.

This scene is a good example of how great filmmaking relies on all the elements of the craft working together at the highest level: Charlize Theron and Tom Hardy’s performances, which are full of amazing range and subtlety; their direction by George Miller; the blocking, shot composition, editing, music, and costuming, which help reveal their emotional states; and the color grading and post processing making the whole thing look drop dead gorgeous while making sure we can still see their eyes and read the full range of their emotions.

But underneath it all is the writing–the sparse, understated dialogue that leaves room for loads of subtext and non-verbal communication. I’m currently reading scripts for a major screenplay competition, and one of the most common mistakes I see less experienced writers make is having characters say exactly what they mean all the time.

In real life, no one says what they mean. We say “I’m fine” when we’re dying inside. We say “It’s cool” when it’s totally not. For an actor, part of the fun is getting to play something other than what the lines say–the subtext.

The delicious thing about Max and Furiosa’s relationship (which is true whether you see them as having some buried romantic feelings for each other or as two people who develop a strictly platonic war bond of mutual respect and trust) is that it happens almost entirely in the subtext, and in non-verbal areas of storytelling like their actions, glances and body language.

This scene is a very important moment in their relationship. But being able to fully read the text of the scene requires you to be quite an active movie viewer, to parse out a lot of very subtle details of things like body language, facial expressions and eyeline and figure out what they mean, in a time span of about a minute and forty seconds.

And the whole movie is like this–it requires a high degree of attention, active viewing, visual processing and emotional intelligence to fully understand what’s going on in a lot of the scenes, because the film doesn’t stop and explain characters’ emotional states and journeys to you. I think it’s a film that was designed for multiple viewings, because the sheer amount of visual information is just too much to take in all at once, especially when your higher cognitive functions may be overwhelmed by a titanic adrenaline rush, as mine were the first several times I watched it.

This is a level of complexity we’re not used to in most art movies, let alone in a big summer blockbuster that is also stuffed with balls-to-the-wall action. It’s a filmmaking style that demands a lot of active engagement from the audience, and may be more readily accessible to some people than others. To me, it is absolutely delightful to have such a complex film text to read, one that unfolds upon repeated viewings to reveal more and more layers of meaning. It makes me wish so many more movies were like this. To me, it makes so many other movies look totally amateur and overburdened with exposition and unnecessarily complicated plots and and fake relationships sold to us as true love and so much goddam talking.

But I think it’s also why you get people saying the movie had no plot (untrue–it has one of the oldest plots there is–“hero leaves home; hero comes back”) or that Max and Furiosa don’t have much of a relationship (omfg, 10000% not true–they have one of the most intimate relationships I’ve ever seen in a movie, and it works precisely because the filmmakers never sit down and spell it out for us).

I also have a totally unscientifically-tested theory, based on talking to many people about their reactions to the movie, that people who were, for whatever reason, more willing to instinctively identify with the characters are more easily able to see the film’s emotional subtleties. I’m someone who falls hard for broken, damaged characters who are full of defense mechanisms–and this movie has two of them, and it’s a story about them trying to connect with each other. So I had a high degree of empathy for Max and Furiosa from the beginning. I suspect if you’re empathically in tune with a character, you’re more likely to notice things like subtleties of expression, a glance, a shift in body language, which are the kind of things the emotional storytelling in Fury Road is built on. I’ve talked to some people who, for whatever reason, just didn’t particularly connect with the characters, and the movie was a much flatter emotional experience for them, whereas I feel like it gets richer for me every time I watch it. 

Ultimately, this is a matter of personal taste and not something the filmmakers can control, and I think it’s pretty gutsy to take the risk of making a big summer blockbuster that may not appeal deeply to everyone. 

The flip side of that is that the people who love it think it’s the greatest fucking thing they’ve ever seen and won’t stop blogging about it.

Oh god. I’m trying to work out romance angles for reverse and just had the most terrifying thought: Kurama’s literal only examples of romance have been Mito, Kushina, and Naruto. 

No, wait, think about it. 

When Mito sealed him, she was already married. To Hashirama, who is an amazing leader but, um, not exactly a stellar example of human maturity. I love thier relationship, but it is honsetly hard for me to wrap my head around given Uzumaki + him

Then there was Kushina, who hated Minato, then boom, fell in love with him. And, again, Minato is amazing and adorable but he is so lame, ohmigod. 

And then there’s Naruto. And Sasuke. Wherein their relationship is everything, my OTP to end all OTPs, but it’s not…normal. Or sane, honestly. 

So these three examples of human attraction/reciprocated affection that Kurama is working with. I don’t know whether to cry at what I’ve set up or just…pity Kakashi. Or laugh.

Reversic Acid

Reversic acid is a rare fluid that can reverse the angle of light traveling through it. Science remains unable to completely explain the phenomenon, though it was known to Ancient Egyptians who believed it to be the work of Set.

When light travels through a normal liquid like water, the light simply travels through unaffected. But when light travels through Reversic acid, it gets confused and the photons forget which way to go, an interruption in what scientists call “Quantum Memory”. Magnifying glasses are assumed to work on a similar principle, in which the photons forget what size they are and grow larger.

Though practical applications are scarce, experiments have taken place to exchange the vitreous humor (The water inside your eyeballs) with Reversic Acid. The results as reported by the first test subject stated that he could not only see backwards, but backwards in time, thus witnessing his own birth.


A Coin of Shakespeare’s “King Cymbeline”

This coin was issued by the great Celtic King Cunobelin, a very important figure in the history of Great Britain. His legacy and name was immortalized as King Cymbeline in William Shakespeare’s famous play of the same name. He is also referenced by the Roman historian Suetonius as Britannorum Rex - King of the British, a testament to his international notoriety.

Known as the last great king of Iron Age Europe, he gained his immense wealth and power through the control of the lucrative corn trade. He used his affluence and skill to gain control of most of southeast Britain, including the strategically crucial town of Camulodunum (modern Colchester), making it his capital. Surrounded by typical Iron age Celtic designs, these wonderful coins boast of the newly captured town on the obverse, while showing the characteristic Celtic two-horse war chariot on the reverse.

This gold stater was minted in Camulodunum during the first half of the first century AD. Obverse: CAMVL in an indented rectangle over a vertical wreath, pellets in rings at the ends and ornaments in the angles. Reverse: Two horses with a chariot represented by a wheel with pellets between the spokes below; a leaf above, CVNOBELIN in curved exergue.

gryph-or-remade  asked:

I am honestly so confused by the way Zootopia presents it's racism problem like. I thought it was gonna start out like "prey" are the oppressed group of people, and it was cleanly established at the beginning with her and the bully but then it just... it just spirals into some crazy town "everyone is oppressed" plot I guess with both prey and predators are oppressed but not even though that's not possibly applicable to the real world at all and I'm so confused by it.

(pt 2) Like the predators started going out and doing peaceful protests??? Are they the minority like black people being oppressed? But they have all up in the law power and they establish that prey are pushed down and. Somehow it’s turned against them in like a week I? I don’t get it they dumbed down societal complex racism to such a degree it’s borderline useless as they actually manage to overcomplicate it! The villain is the originally oppressed prey and I just don’t get it man

exactly! like, they set it up like the predators oppress the prey AND the prey oppress the predators. it’s really, really obvious they’re going for an “oppression goes both ways / reverse racism exists” angle. and that’s not even to mention how pro-cop the movie is.


I reversed the camera angles of this shot because looking through the screen caps one by one, the emotions on Bucky’s face change from anger to something else entirely. Shock? Surprise? Recognition? 

To me it already looks like he recognizes her. Even before she says anything. It’s the way his eyes widen. And his mouth opens slightly like he wants to say something. A name perhaps? Her name?