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Atomic Blonde (2017)

Directed by David Leitch

Cinematography by Jonathan Sela


Strike meme - cinematography
⤷→ The Cuckoo’s Calling + high camera angle


Camera Man: You wanna start by introducing yourself?

Girl: My name’s Imani Paredes. I’m 16 and I’m an orphan.

Camera Man: An orphan?

Imani: Yup. My parents abandoned me at the Willow Creek Police Station when I was 2 days old. I grew up in St. Simcelia’s Home for Girls.

Camera Man: What was that like?

Imani: Hard. Sad. Fun when I had good foster parents. But that wasn’t often so most of the time it was just sad.

Camera Man: So you had multiple foster parents? Why weren’t you ever adopted?

Imani: Actually I was when I was a baby. By a lady named Maria Paredes in Newcrest. I don’t remember much about her. She died when I was four and she didn’t have any family to take me in so I went back to St. Simcelia’s.

Camera Man: That must have been hard. Losing your mom and going back into foster care.

Imani: *shrugs* Probably. I tend to black out bad chunks of my life. Unhealthy but effective. After that I guess I never got adopted again because I had too much attitude. At least that’s what the nuns would tell me. Doesn’t matter anyways. To most people I was just a check. Except the Johnsons.

Camera Man: So the Johnsons were one of the good families? Why didn’t they adopt you?

Imani: They probably would have but Papa J lost his janitor job at the science lab and Mama D couldn’t support everyone on her maid salary so they had to cut some corners. *shrugs* I was one of those corners.

Camera Man: So how did you end up out of St. Simcelia’s and in San Myshuno?

Imani: I guess the nuns figured I was more trouble than I was worth. After I got expelled from my fifth or sixth school, my case worker told me I had two options, go to juvie or become emancipated. I chose the latter. I’ve always wanted to live in the city so San Myshuno was the natural choice. Plus the rent is cheap and nobody asks questions about renting to a 16-year-old. 

Camera Man: Has being on your own been hard?

Imani: The way I see it, I’ve always been on my own. Always had to fend for myself. The only difference now is that I don’t have to worry about stealing or hiding food to make sure I have enough to eat.

Camera Man: *mumbles to someone off camera* My producer is telling me that you have to go to work so we need to wrap things up. Can we talk tomorrow?

Imani: Of course.


WANDERFUL! See the moving image of today’s cast photo and the title frame from Fantastic Beasts: The Crimes of Grindelwald.

Voltron Character Study: Zarkon

[read more analyses like these here]

I promised you guys one of these shindigs ages ago so let’s do this, everyone’s favorite (??) scary space turtle warlord. Sphinx? Everybody talks about the galra being cats and no one accuses Zarkon of being a sphinx. What’s up with that, guys. 

I’m getting off topic.

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Cover Versions

Once more, it’s time to get TWATD. In our slightly-amended format, Tim + Alex will be taking it in turns for their usual pontification and pondering after each issue drops, plus probably an extra sixth one for symmetry purposes. 

With Issue #30 still warm from the printing presses, the hot blogtato passes to Mr Timothy Maytom, diving into the cover design for Imperial Phase and what it all means.

Tim: The front covers of The Wicked and The Divine have always told a story. Whether it’s the first two arcs, a ten-issue build up to a blood-spattered punchline, or the gradually darkening backgrounds of the trades, taking us from pure white to stygian black as our cast of characters grows more tangled in darkness, deceit and despair, Jamie McKelvie and Matt Wilson have done an astonishing job blending iconic designs inspired by high-end fashion magazines with the narrative demands of the comic.

For Imperial Phase (Part I), we had yet another shift in design, with each cover featuring a medium shot of a god, positioned in the bottom left corner and taking up roughly half the page. Meanwhile, the top right quadrant is dominated by the book’s title, framed in a rectangle that represents the god’s powers and domain, from Baal’s lightning to Baphomet’s fire to the Norns’ interweaving threads.

As we enter the second part of Imperial Phase, that design has persisted, but the powers of the gods have started to stray beyond the strict borders of the rectangle. On issue #29’s cover, the fiery cat of Sakhmet begins to stray over the edges, like a returning feline pushing its head through the cat flap. With #30, the rectangle becomes a window, with The Morrigan’s ravens flying through, invading the cover. The solicitations for #31 and #32 show this pattern continuing, with the white space that has served as a background for this arc’s covers almost completely gone by issue #32, and the power starting to envelop not just the backdrop, but the god too.

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Title: Framed in a Stranger’s Speech
Author: pantheonofdiscord
Artist: Starmouse123
Rating: Explicit
Pairings: Dean/Cas
Warnings/Tags: #claire novak #jody mills #case fic #canon-typical violence #established relationship  #bedside pining #angst with a happy ending #NOT a claire/dean fic #issues of consent / vessel ownership taken very seriously by both the author and the characters #the explicit part is NOT when Cas is in Claire’s body
Posting Date: 10/24/2017

Summary: It takes exactly fourteen seconds for Dean’s whole universe to implode.

First, there’s a scream that tears at every inch of him, and then a light so bright his eyes are forced shut. When he opens them again he’s staring down at Cas, lying on his front, motionless on the war room floor.

Dean, Sam, and Cas have finally found some normalcy – and despite all odds, happiness – when an average hunt leaves a powerful witch gunning for revenge. When the dust clears, there’s a crater in the bunker’s walls and Cas’ vessel is lying empty on the floor. But Jimmy isn’t the only Novak out there.

Cas is alive, but he’s trapped in Claire and getting weaker by the hour – and all the while the witch moves ever closer to them, intent on finishing the job. Unable to return to his own body, but unwilling to stay in Claire for long, Cas’ time is running out, and Dean is once again faced with the possibility of losing him.

- - -

“I’ve been reliably informed that watching people sleep is ‘creepy.’”

Dean startles, then smiles softly, leaning in as Cas blinks his eyes open. “Hey. How’re you feeling?”

Cas nods. “Still tired, but stronger.” He shuffles carefully up in the bed, and Dean helps manoeuvre the pillows against the headboard. “Claire still needs to take it easy, though.”

“Yeah,” Dean says, quirking his lips slightly. “You wanna be careful there. You’re already on Jody’s bad side.”

“I like her.” Cas smiles. “I’m glad Claire has someone like Jody watching out for her.” He pauses then, and runs his eyes over Dean’s face. “How are you doing?”

Dean scoffs. “You shouldn’t be thinking about me right now, man.”

“I’m always thinking about you.”

A glow of warmth spreads out in Dean’s chest and he casts his eyes down, bringing a hand up to run over his mouth. “God, Cas, when I saw you lying there…” He looks back up. “I was so damn scared.”

Cas doesn’t reply, just reaches out and pulls Dean’s free hand over to rest on the bed beside him. He squeezes hard.

Dean looks down at their clasped hands and chuckles. “Claire is so gonna make fun of us for this. Couple of old saps.”

“I’m willing to risk it,” Cas says.

Dean looks into Cas’ softly smiling face. “This is so weird, man. You look like… you.”

“I am me.”

Dean rolls his eyes. “No, I mean you. Old you, normal you. It’s the eyes.”  

Cas shrugs. “Well, Claire is Jimmy’s daughter. It makes sense she looks like him.”

“No, it’s not that. Well okay, yeah, it is. But that’s not what I mean.” Dean runs his thumb along the small, thin fingers of Claire’s hand. “It’s your expressions and, I dunno, the way you hold yourself, and how you talk.”

Cas tilts his head, and Dean grins. “See, right there, you’ve got the ‘humans are so strange’ squint going on.”

Cas laughs softly.

Dean studies his face. “What you told Jody, about leaving Claire…” Dean trails off, and Cas looks away, not meeting his eyes. “What, you thought I forgot about that?”

Cas speaks down to the bedspread. “Like you said, we don’t know what the witch did to me yet. With any luck, those marks you saw are just incidental to her spell.” Finally, he looks back up. “But we may have to face the possibility that whatever she did is permanent.”

Dean had been expecting this, but denial still pulses through him. “No, Cas. We’re gonna fix this. There’s always something.”

Cas nods. “I hope so. But if there isn’t… well, this could be it for me.”

“The hell does that mean?” Dean asks angrily. “What happens if you can’t go back to your vessel?”

Cas looks away again. “I can’t return to heaven. It’s locked, and I wouldn’t be permitted there anyway. I’d just… let go.”