Those previous versions of herself were so distant now that remembering them was almost like remembering other people, acquaintances, young women whom she’d known a long time ago, and she felt such compassion for them. ‘I regret nothing,’ she told her reflection in the mirror, and believed it. (insp)
1. It worries me when JR leaves (hopefully to return) that someone else will start wearing her unique trauma bay scrubs.
2. I wish Serena’s maiden name was Campbell. I don’t like that she uses Edward’s name even now. I have no right to feel that way as it’s her choice.
3. I worry too much about berena being reunited, but if it doesn’t happen I’ll always feel incomplete.
4. I wish we could have had more enjoyable berena episodes post-Kiev and pre-Eleanor. We basically got what 2 nursing station scenes, an Albies and a corridor scene. Some talk of Christmas at Serena’s. That was our golden age ffs!
So after 8 days of enjoying clips and gifs of the finale I got to watch the whole episode last night. This post is largely for @backonorthernshores who was curious to know my first impressions.
I admit to being scared it wouldn’t live up to my massive expectations after having read the fandom’s (largely) enthusiastic reaction. I’d been blown away by 2-21 and I’ve watched that episode 3 times so far. But I’m pleased to say the finale didn’t disappoint at all. And what with the mini-heatwave and my brain churning over what I’d just seen, I didn’t get much sleep. I would now like to apply to join the collective flailing.
First impressions and some of the questions that kept me awake for most of the night:-
1. Patterson was simply AWESOME!! The biggest-ever threat to the US and she made the NASA bods look like amateurs. And you could tell Director Hirst was super-impressed too. I could see her already lining up Patterson as her future successor. Patterson had her momentary post-Sandstorm breakdown (not surprising given what she’s been through), but she seems to have bounced back by the time of the apartment party. I do hope this kidnapping (if that’s what it was) doesn’t break her spirit.
2. How worried should we be about the nuked marine life in the Atlantic?
3. The joy of watching Zapata and Keaton spar off one another. More please. Very proud of Tasha - at death’s door one minute and then fully-functioning and dishing out the sass the next.
4. Weller proved he really is great at puzzles. First, after his brainwave about the real purpose behind the tattoos, he twigs that Shepherd plans to take down the top tier of the services that very same day and that Sandstorm must have infiltrated COGS too (does Blindspot have a cupboard-full of Aussie actors just waiting to come on and make guest appearances?). Still lolling that the only person he feels he can trust is Keaton - they’ve come a long way too. And as for Weller’s brilliant idea of electrocuting Shepherd to neutralize the beacon…..2 minutes left on the clock and he’s thinking as quickly as Patterson. I was cheering him on at that point. Pity we haven’t seen what Nas does to Shepherd (may she suffer for eternity), but maybe they’ll save that for flashbacks in S3. And bless my little munchkin for his thank you speech back at the NYO - for a man not good with words that was very well done.
5. Jane may be outclassed as a fighter by Shepherd (I’d like to have seen her training sessions at Sandstorm with Ronda Rousey), but she is one hell of a truck driver. Did she actually see it was Roman before she ploughed into him? Or did she just assume that must be him in the police car? She was going at such a speed that she can’t have glimpsed much before the impact.
6. Kurt’s “I love you, Jane” admission was a beautiful moment, one of my favourite ever Jeller scenes (*wipes away tears*).
7. The apartment corridor scene was way shorter than I expected from the mountain of gifs. We’ve been poring over every nuance and expression as if it lasted minutes, when it was all done in seconds. I didn’t even get the chance to keep an eye on Jane’s elusive jacket. I like to think she dropped it for the kiss and that Zapata and Reade exchanged meaningful glances when they spotted it on their way out. But how lovely was Jane’s declaration and Kurt’s response. And yes, that ridiculous camerawork in the sex scene. A travesty. They had better give us more satisfying encounters in S3. At least Pegleg made a miraculous recovery from his wound in time to enjoy the moment.
8. Old funny Reade is back at last and I hope that’s the last we hear about a new career at Quantico. But what did he mean by his excuse “my boy called”? Is he back with Nikki and her son and I missed it?
9. I was pre-warned about the 2-year jump, so I wasn’t floundering helplessly in WTF-just-happened shock (although it’s going to require another viewing or three to sink in). So Jane was trying to find herself (or lose herself) and it wasn’t working. The sisters at the retreat (what’s the Buddhist equivalent of a nun?) saw that, and were encouraging her to return home. “I can never go back.” Jane’s reason for running had better be HUGE to be remotely credible. I’m still guessing it’s either a very real threat to her rabbit and/or his loved-ones which she doesn’t believe Jeller are strong enough to deal with together; or some massively disturbing Remi thing re-surfacing that means she can’t trust herself not to do harm. I think she told Kurt enough before she left to stop him coming after her immediately, but not everything.
10. So Kurt rolls up like Indiana Jones (did he arrive on a goat with a second for his luggage? did he bring a guide?), and he is trying so hard not to cry. He’s still hurting, there’s pain in his eyes, a little residual anger, confusion, relief, but so much love for her. How can anyone possibly think he might have married anyone other than Jane? “I can’t believe I finally found you.” So he’s been searching for a while, but he only left because Patterson, Reade and Zapata went missing and the box sent him to Jane. I think his search has been weeks rather than months, but that Jane has been gone for much longer. Surely the “kidnapper” wouldn’t have wanted to hold them captive for any appreciable length of time, so Weller must have had some clue to at least what part of the world to look in. Otherwise he might more logically have started in South Africa. So perhaps he flies directly to the Himalayas and then puts the word out for news of his beautiful tattooed wifey, maybe offering a reward. The sweet young sister who lets Kurt in isn’t overly-surprised at his appearance, nor does she see this big bear of a man as a threat. Do the sisters already know that he’s Jane’s husband and that he intends no harm, either to them or to their guest? It would seem so. Jane must have shared some of her story with them, and I think they betrayed her exact location as soon as they heard of his search.
11. “We think they’ve been kidnapped”. Jane’s immediate thought is that it’s Roman behind it - the threat to her rabbit she thought she’d averted by running? The “we” suggests to me that Director Hirst and Weller have been working together on figuring out what’s happened to his team and that Hirst has given Weller leave to find Jane to unlock the secret of the box. Who else would/could he consult with? Keaton? Rich? I do hope he didn’t feel it necessary to resign from the NYO. It can’t have been easy to take out Reade or Zapata (and Patterson is more formidable than she looks), so if it’s Roman he is probably not acting alone. Kurt is genuinely worried. What an agonising journey it must have been for him - with the added worry of what he might find at the end of it.
Whatever all this is about, I do NOT want to see loads of short black and white flashbacks cutting in and out of the narrative in Season 3. I think we deserve proper fleshed-out scenes explaining why Jane left and the manner of it, and what happened to Weller and the NYO between the abduction of Patterson, Reade and Zapata and Kurt’s reunion with wifey. It also goes without saying that we require full detailed scenes of Jeller’s wedding/engagement (whichever) that shows the exchange of those rings, and some of their domestic life together prior to the EVENT.
If NBC stick to their 2016 schedule, most of you will get to find out in September, while my country will probably be kept biting its nails in frustration until mid-November again, playing catch-up during your lengthy winter hiatus. It’s going to be a long long wait.
Pairing: Bucky Barnes x Reader Warnings: !SMUT! Swearing, slight violence Summary: Break ups can lead to many things. For some, it calls for the best rom com and a bowl of ice cream to drown yourself in your own feelings. For others, it can mean shutting yourself down for a while, taking time for some well needed self care. For (Y/N), it meant going off the rails just a little. A/N: This song is inspired by Post Break-Up Sex by The Vaccines, one of my all time favourite songs. Listen to it here! Word Count: 3K
Lothal- breaking it down
The generator fight on Naboo, specifically the dumb closing corridor scenes. Obiwan’s frustration and quigon’s determination to do it his damn self, and Maul’s bitch ass over confidence. Yeah love that shit.
Obiwan saying ‘hello there’
The originals- Han being a doofus as a stormtrooper.
The sequel- when the guavians and kanjiklub show up to sass Han Solo.
Kylo Ren and Poe’s chair scene.
Mads’ bitch slap
The Clone Wars- Obiwan telling Maul he likes his new legs. What a sassasaurus obiwan is in clonewars. Pretty much all scenes that obiwan, anakin, and Ashoka are sharing screentime.
Okay so starwars has been special to me for a long time in a nontraah, not even much of a fan kind of way.
In a watching the originals for the first time from he back of my dad’s recliner. To fantasizing about being Amidala as a kid at burger King waiting to attend my great grandmother’s funeral. To a movie marathon watching all the originals and prequels in chronological order with a new friend.
Like I always liked the movies, but it didn’t go beyond that.
Until The Force Awakens came out and the squad and I watched it on Christmas Eve and was blown away with intense feels and I’ve been trash ever since.
Diabolik Lovers ~Limited V Edition~ Ayato After Story Part 2
Guess what guys, this isn’t the end of the after story. There’s still a bit more. I take back my words when i said that I’m splitting it into 2 parts. Even better, the CG hasn’t even appeared at all!! Eitherway, let’s get on to the story.
As per usual, do check out the google doc which has been updated with the second part, and the first part of this translation is here.
And then a blank stare as I try and explain what it is I do.
Most people know what video editing is, or at least have a vague idea that it exists, but don’t really know what it entails.
I used to do this exercise every time I got a new batch of editing students: I show clips of three different types of editing (the corridor scene from Oldboy, the hallway scene from Daredevil (2015), and the elevator scene from The Winter Soldier) and I tell students to tell me how many cuts there are in each scene.
With Oldboy I’m kind of cheating, because the whole point of that scene is that there are no cuts. What makes it brilliant is that it’s one, long 3 minute scene. It’s not the editing that’s remarkable about this scene, it’s the choreography, the camera movements, the lighting, and all of them somehow working together so that not a single cut was needed.
With Daredevil it’s a bit different. The point of editing is that it’s the invisible art; the less you notice it’s existence the better the editor is. Even when I point out to my students where the edits are they sometimes still can’t see them (and, to be fair, I’ve watched this scene now more times than I can count, and even I’m just using my experiences to guess and there’s a good chance that I might be wrong on a couple of them). The point is that it’s supposed to seem like it’s one continuous shot, but it’s not: there are several places where either they did cut or they at least could have to give their camera crew and actors more room for error. In a scene like this, you look for any instance of the picture going completely black, even if it’s just for half a second (in film editing, a second is actually a very long time because we work in increments of frames and there are largely 24 or 30 frames in one second but that number can go up to 60 and can get to 240 if you’re working in slow-motion).
The Winter Soldier is always where I get them. I ask them to count how many cuts there are in just the fight scene. I’ve gotten 10, 15, 5…one bold student in his first day said none. The closest was a student who guessed 50.
There are upwards of 80 cuts in just the fight scene alone that lasts about a minute (starting at 1:50 in the video and ending at about 2:50). On average, they last half a second, with the longest being when Brock Rumlow (Frank Grillo) says that “this isn’t personal” because it’s a break in the action that’s amping up the stakes.
That’s editing. It completely changes depending on the movie, the mood, the genre, the director, the editor…there’s a line I’ve written on the board in my office, “Writers manipulate characters. Editors manipulate audiences.” Every time you are tense in your seat in the theater, every time you’re crying at a characters reaction, every time you find out something new with the plot that didn’t have to be explained and just shown, that was all us.
Recently, a lot of people have been paying more attention to editing, thanks to Margaret Sixel (Mad Max: Fury Road) and more and more people realising that the reason the original Star Wars trilogy is so great is because of the brilliant work of Marcia Lucas. In this spirit, I wanted to start a blog that highlights different aspects of Post Production (or aspects of Production that end up helping Post Production) so that even more people can understand the kind of work that goes into a movie long after the cameras have stopped rolling.
So next time you’re in the theater, look at who the editor is, take down their name, remember them. They deserve it.
When I watched S3 for the second time, I was very surprised and very pleased to discover that my beloved Molly had been given a theme in the already beautiful Sherlock soundtrack.
You can listen to it in two scenes of The Empty Hearse: the one in which Sherlock asks her out to solve crimes and the “kiss in the corridor” scene.
I’m not an expert in TV shows’ structure/features/subtext etc. but I do find this choice incredibly interesting: Molly was not even meant to be in the show, yet she has her own theme. Is her importance going to increase in S4?
I’m also intrigued by the kind of music they chose for her: it’s soft, delicate but kind of angsty.
My dear Sherlollians, what do you think about it?
super platonic soft hand touches complete with super platonic direct prolonged eye contact “i don’t want you to change”
straight up calling an adventure “a date”, in context comparing it to ur crush’s other date in a competitive and triumphant tone of voice
Clara on mood-lighting in regards to the Doctor: “honestly the accent is enough”
platonically shipping ur bff with someone who looks and acts just like you
platonically getting extremely upset when above ship sinks
platonically getting into a shouting match with your pal’s bf
12′s outright disgust and anger/disbelief at the suggestion that he’s Clara dad is how you portray father/daughter relationships yep
demanding a personal explanation for ur bff’s boyfriend
generally acting like you’ve just found out ur gf is two-timing you with another man
spending an entire episode trying desperately to one-up Robin Hood but definitely not bc he keeps mackin on your girl
super platonic train corridor scene which sends levels of romantic/sexual tension to heights which cannot be measured by mere mortals
acting like you’re going through a rough breakup for an entire episode
that time Clara just straight up told him “i love you” to his face
bonus: that time he thought Clara was telling Danny “i love you” and looked like someone had just kicked him in the stomach (see point above)
lying about everything so ur crush can start their life with their partner/become queen of gallifrey
platonically crying in the middle of a hug so ur pal can’t see how upset you are
“he’s crazy about her”
Jenna on that last minute whouffle epiphany
haha the entirety of Last Christmas what
12: we can’t just kill aliens alien: tries to eat clara 12: motherfuCKER do you WANT to DIE
clinging to ur pal’s hand while you enter a death sleep in the slim hope of saving them
“I will hold Clara’s hand but that’s it”
“you’ll never look any different to me”
“there are only two people i’ve felt inclined to marry - hint; one of them is standing in this room staring at me like i am queen of the universe and the other is my dead boyfriend”
platonically eye pleading with your friend and begging them to run away to outer space with you, plus hand touches, a kiss, and the facial expression usually used by a man on one knee proposing
the platonic sliding scale of fighting off hugs to pretending furiously that you don’t enjoy them as much as you do
platonic parallels between ur current platonic friendship and past canon romantic/sexual relationships
i only go for girls who scatter themselves through my timeline
saying you don’t like hugging but then platonically running across a fCUKING FIELD CALLING OUT YOUR PAL’S NAME, PICKING THEM UP AND SWINGING THEM AROUND IN A PROLONGED HUG ALL THE WHILE SMILING LIKE YOU’RE IN SOME KIND OF PRIDE AND PREJUDICE SHIT WHAT THE ACTUAL FUCK
The difference between Severus' love and James' love
EDIT: Please stop reblogging this post. It isn’t being spread around a lot, but every so often it suddenly earns notes again. I don’t want it to spread more than it has in the case that it might invite hate. Granted, if someone is willing to have a healthy debate, I’ll take it, but that’s unlikely on this website. I made this post a long time ago and I’m not as involved in the fandom anymore, so I’m really not interested in any sort of discourse involving this topic. Again, don’t reblog this post. I don’t know why people keep doing it despite what I said, but DO NOT REBLOG.
I’m trying my best to not be biased, but if you feel that I am please point it out. Remember that a lot of this can be pure interpretation. I try to use canon and things that canon hints at in my arguments, but I may get some things wrong.
To be honest, despite how much I tried, I do not think I was all that fair to James, so if I could get someone’s feedback on that it would help a lot. Thanks!
WARNING: The following is an essay that puts James and Jily in a bad light. If you don’t want to see that, stop reading from this point on.
Behind the scenes of The Girl in the Fireplace (Part Two)
Excerpts from Benjamin Cook’s behind-the-scenes article in DWM #370
The horse will be filmed in a studio next week - so not to get hoof prints on the black-and-white chequered floor in the Great Hall - and the visual effects bods will add him into the scene in post-production. This means that David has to engage in the embarrassing art of mime…
“Neigh,” he deadpans, as he gallops around the Great Hall on a strange scaffolding contraption. To be honest, he looks a bit silly. He admits later that he isn’t looking forward to meeting the real horse next week. “I’m allergic to horses,” he sighs. “I’m going to be standing as far away from it as I can.”
The spaceship set is redressed as a different stretch of corridor, for the scene in which Rose and Mickey are overpowered by two clockwork droids.
Ominously, this is shot 666. Some wag has drawn a pair of horns on the clapperboard, which is unnerving Billie. “I hate those devil things,” she cringes.
While no one is looking, David commandeers a camera. “C'mon, rock and roll!” he enthuses. “Good shot, David!”
“Shall we go for a take?” says Peter Bennett, as a gaffer drags David away from the camera.
The Doctor appears in the corridor, with Arthur in tow, and stares through the stone door. He tells Arthur not to wander off.
“Let’s go for a take,” calls Peter, “but this time can we not say A-C-T-I-O-N?”
Arthur - who’s actually quite an experienced thesp - recognises the word ‘action’, and gets a bit over-eager as a result. Throughout the take, Arthur’s handler lies on the floor, coaxing him.
“We friends now?” David asks Arthur. “Yeah, you bet we are!”
On the next shot, Euros suggests filming the rehearsal too. “It might do something interesting,” shrugs Euros referring to the horse, “like sing!”
“Ten green bottles…” mumbles David.
But there’s hope for Arthur yet. On the final take, he gives David an impromptu melancholy nudge when asked not to wander off. It wasn’t in the script, and it wasn’t planned, but David reacts, and Euros is delighted.
“And… cut!” he says, before adding: “Good horse! What a marvelous take!”
I LOVE me some Bernie Wolfe and because I have time and I’m feeling particularly gay this evening, I thought I’d list the many ways in which Jemma has completely blown me away with her portrayal of the tough macho army medic, with a heart of gold and the most simpering brown eyes the wards have ever seen <3 Her masterful handle on her character is by no means underappreciated- just look at her fan base- but I wanted to write some things down that have particularly resonated and impressed me…..