when i first saw this scene

anonymous asked:

The supercorps are like "lol I'm glad Mon-Hell is gone" yet all the comments I saw in the first scene of Girl of Steel is people asking when Mon is coming back and how they think the show is better with him... like okay supercorps go off i guess

sc think that they’re the majority of the viewers, but, fun fact: they’re not. the general public enjoyed mon-el and enjoy kara and lena’s friendship, just how it’s supposed to be. 😌

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3x04 | 5x12

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When I saw the first pic with Bill and Jackson together, I quickly thought of a moment during filming where they’re doing the opening sewer scene and they made a lot of takes and when they finally got it, Bill quickly crawls out of the sewer to ask Jackson if he’s ok and telling him he did great and all just for Bill notice him yawning, so he picks him up and heads to his trailer to lay him down for a nap. 

SO I DOODLED IT

🎈

A Most Important Scene From Voltron Season 3

So… there’s something about this entire scene that’s had me pondering it all morning. Now, despite my writing tendencies or even which characters I would like to see together, most people who know me understand that while I write and post certain things, how I actually view the canon is separate. Like, I don’t watch Voltron for shipping and what characters do and don’t end up together is not why I’m into it. I’m very realistic about potential ships and do my best not to let shipping goggles cloud my judgement. After all, I may like to create, but I also analyze. And anyone worth their socks in literary/media analysis knows that it’s about looking at what you’re given and not what you want to see (what we want to see gets into headcanon/prediction territory, which can be backed by analysis, but they aren’t the same thing). In other words, me fangirling about a ship and me looking critically at a piece of media are two very separate things. 

Therefore, this scene has left me in rather a… curious sort of hesitance? Because I find it hard to believe that I’m coming to the conclusions that I am? 

First and foremost, I’m glad that Lance and Keith are working together better and trusting one another enough to go to the other about their problems. I don’t care who you ship with who, it’s good character development for them when we look back at where they started and does nothing but help the team. Keith admitted his faults to Lance when he pushed the team too hard and Lance went to Keith when he was insecure. These are not small steps for these boys and I’m glad they’re finally becoming better friends. And that’s honestly all I thought I was going to take away from this season, if I even got that far. 

Until I saw this part of this scene specifically (I’ma use this screenshot a lot, lol) -

 - First of all, I want to look at how these frames with Keith are laid out. Keith is in the center of the frame the whole time, his posture is open, his expression is friendly, his smile is sincere. He is lacking in weapons or anything typically considered threatening. But what is probably most important is that we’re not just seeing Keith from Lance’s point of view, we’re seeing him through Lance’s eyes.  

There is a difference. For example, in these scenes - 

- we’re seeing Allura from Lance’s POV, but not through his own eyes. This is a very common type of shot when two people are having a conversation or even when multiple people are in the room. It’s like getting a third person description of what’s happening with weight on a certain character’s perspective. Sometimes it’s not even that far and it’s just convenient to look over this character’s shoulder. Versus when we get a more first person perspective when we see a character through another character’s eyes.  

We also get shots like this in this same scene - 

- This shot comes in concurrence with the one previously and can still be considered as coming from Lance’s perspective. So what’s the difference between this shot and the one of Keith? This shot is up close–it’s focused on Allura’s expression and what she’s saying. She’s also not completely centered, but balanced in the frame for the viewer, not Lance’s perspective. Lance is listening to her, not admiring her in any way, shape, or form. In fact, despite Lance’s general attempts at constantly flirting with Allura, he is not looking at her at all in this scene as a potential romantic interest. This entire scene is focused on what they’re saying and what that means. Not any kind of attraction between them. 

Which is what struck me as so odd about the way we see Keith through Lance’s eyes in episode 6. When a character is being admired by another character, getting a shot through their eyes of their subject from the waist up, or thighs up, or knees up, etc, is a very common way of displaying that admiration in a visual sense. It’s already clear from this scene that Lance views Keith as the new leader - 

- So even if Lance takes issue with some of the things Keith does, he–at the very least–begrudgingly accepts Keith’s position and is doing everything in his power to support him (as most of season 3 is evidence of). Which is why these frames - 

- took me so far aback. Honestly, I was much more expecting this kind of scene to be displayed from Lance’s eyes when his and Allura’s development took place. I even went back during their critical conversation to look for it. But there isn’t anything similar. Lance clearly respects Allura, but he didn’t “waver” in looking at her so as to imply a different kind of admiration. 

Another character that gets this treatment a lot? Shiro. Shiro is their leader. Shiro is their security. Shiro is oftentimes framed in this manner when the other paladins are listening to him. But usually it’s a group shot, and even if there are scenes with him and one other (maybe with Keith? I’m not going back to watch the whole series), his body language and expression are not so soft. There could probably be some shots of Shiro looking less severe when he speaks to Keith, but I never remember being this struck by a scene with Shiro that didn’t feel like anything more that admiration because he’s their leader and/or idol and/or older brother figure (this goes for Pidge as much as Keith). Just as I’ve never seen anything to blatantly support Klance before. Like, I’m not playing favorites here.  

The point I’m trying to make is that, in seeing Keith through Lance’s eyes in this scene, we’re gleaning a LOT about how Lance views Keith. Not only is he listening to Keith, but we’re seeing Keith as more than just a face with words. It would have been easy to frame this scene like this -  

- I mean, even this is still… But the point is, there were a lot of ways to frame this that didn’t have Lance giving Keith that “admiring” look that is oftentimes used in movies and animation. At this point, Keith is the center of Lance’s entire focus. The rest of the room is bare, Keith is what stands out most. But it’s not just his words or what he’s saying, it’s his entire person. It’s his body, his words, his posture, where he’s standing in the room. 

And then we get to his expression. This is so important. They could have given Keith more attitude, they could have had him lean back on one leg and cross his arms. They could have done LITERALLY ANYTHING ELSE to suggest that Lance was merely admiring Keith as a leader and friend, but they didn’t. They kept his posture open. They kept him still and centered in the frame. And they gave him the softest mother fucking smile that Keith has probably displayed in the entire goddamn show. And I don’t mean to say that he hasn’t given those small, soft smiles, because he has, but this one has teeth and is still soft. EVERYTHING about this frame is soft. 

And this is HOW LANCE is seeing Keith. We have the distance from where Lance is standing in the doorway to Keith to support this, as well as how he looks following, which implies that we were seeing Keith through him - 

- He’s looking over his shoulder, continuing the line of sight we the viewers were just privy to. And he reflects the same softness he has just seen in Keith. 

For fucks sake, all we need is an edit of that frame of Keith with a soft white background and some sparkles and we’re all fucking set! This frame - 

- was coded to be romantic. This is Lance not only admiring Keith, but seeing him in a “different” light. I mean, look at Keith’s hair for crying- UGH! Just add some wind and a few flower petals and- just- HOLY FUCK, LANCE! OGLE HIM SOME MORE WHY DON’T YOU! I don’t know if Keith is really this beautiful or not BUT YOU’RE DOING A GOOD JOB OF MAKING IT SEEM LIKE HE’S THE MOST BEAUTIFUL CREATURE YOU’VE EVER SEEN, LANCE!

Seriously, this is probably one of the most sincerely romantic frames we’ve gotten in the entire series. It’s also quite bittersweet. And, like, even if Lance isn’t aware that he’s looking at Keith like this, we are! We’re literally watching Lance form feelings for Keith through his own goddamn eyes. Ugh, gag me. 

I am disgusted. 

Originally posted by my-harry-potter-generation

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Cersei: Do you remember the first time you saw a dead body?
Jaime: Mother.
Cersei: All I could think about when she died was what would happen to her now. Every day, every night, what does Mama look like now? Has she started to bloat? Has her skin turned black? Have her lips peeled back from her teeth?


So, incidentally, my experience with the movie Megamind is that I ended up watching it backwards in a hotel once when I was younger and nothing else was on. And by “backwards” I mean, the first day I only caught the latter half of it and then it was on again the day after and I saw the first half.

That said, that one dang scene, is kind of an immortal one in my mind, because it’s one that has a lot more depth than it seems to.

The part that people often miss is that right after that pithy one-liner of how the difference between a villain and a supervillain is presentation… that whole conversation gets context.

Because Titan makes an immediate lunge for Megamind.

And immediately gets crunched by the giant head, and stuck in that situation because Megamind just drops out of the bottom, to a waiting vehicle, and maneuvers around him to focus on the actual issue: rescuing the hostage while Titan’s occupied.

That whole setup isn’t just, “watch me out-drama you”, it’s showing off an actual tactical asset.

Because Megamind as a character is someone who was always, always motivated by getting attention. The reason why Roxanne is never afraid of being his hostage isn’t because of her unshakable faith in a rescuing hero as much as it is that she knows, ultimately, what Megamind is doing is overwhelmingly a show. His atrocities are symbolic in nature. When he actually needs to take somebody out he dehydrates them into a cube for a while. And it’s not just Roxanne that calls him on this, either- Metro Man’s entire retirement scheme hinged on the idea that Megamind really didn’t need someone keeping him at bay from innocent civilians, because, as we’ve seen, innocent civilians really don’t have much to fear from him. Ultimately he is still, actually, just a kind of needy person desperately looking for validation and approval, neither of which can be provided by dead people.

But that’s not to say he can’t actually fight. Like any actual proper magician, he knows how to hold attention and an element of danger is how that works. He’s actually brilliant, and plenty capable of raising genuine hell.

However- he’s been doing this stageshow thing for ages. He’s mastered this. Titan may have him outgunned practically in every respect- but the guy has no conceivable head for subtlety.

So the real kicker to that whole setup, is this isn’t just Megamind being Megamind for the sake of drama- this is Megamind knowing exactly how easy Titan is to bait, dangling the largest trap he could possibly conceive in front of the guy, and doing it in an unapologetically glorious manner as any true performer would.

“Presentation” is not a superpower to be overlooked.

zorilleerrant  asked:

Can you have Cap save baby Magneto?

This actually happened in some of the cartoons! I gasped out loud when I saw it for the first time. (Go to about 10 minutes in for the full scene.) I thought I’d do something a little different, because while I love Erik in the First Class movies, I always wanted a happier ending for him…

The Howling Commandos, as a forward team focused on Hydra, hadn’t liberated many camps; the ones they had were Hydra slave labor camps, where the men were, if not well-fed, then at least not the gaunt, barely-alive prisoners they’d heard about from Red Army soldiers and Allied units. 

This camp was different; at the heart of it was some kind of lab. When Steve battered down the last reinforced door, he found a man holding a gun to the head of a young boy. 

“I’ll kill him,” the man said. Steve didn’t bother with an answer; the shield took the man’s head off before he could threaten the kid again.  

Still, in that second before death, Steve had seen the man’s finger spasm on the trigger, and felt the thickness in the air when the trigger wouldn’t move. He looked at the boy, looked at the body, and had a sense of destiny resettling itself in the world. 

“Was he the camp commander?” he asked the boy, who nodded, huge-eyed. “Commander…Shaw?”

The boy nodded again. He turned and pulled Steve’s now bloody shield out of the concrete wall like it was nothing. Then, with narrowed eyes, he floated it across to him, through the air, without touching it. 

Steve took the shield out of the air, shook off what he could, put it on his back, and said, “Thank you.”

“My pleasure,” the boy said, in trembling English.

“What’s your name, son?”

“Erik Lensherr.”

Steve had seen a lot of things in the war; nothing like this, but there had been signs of strange experiments in Hydra labs. This was comparatively harmless.

“Well, I’ll make you a deal, Erik,” he said. “I won’t tell what I saw here just now, and you help me close this place down. Then we’ll take you to HQ and get you a hot meal. Sound good?”

Erik nodded, then offered, “They knew you were coming. They destroyed all the records.” 

“Doesn’t matter,” Steve said. “Come on.”

In the convoy, bringing the prisoners out of the camp, Steve brought Erik up to the cab of the lead truck, and put him in next to Bucky at the wheel.

“Who’s this?” Bucky asked.

“Erik,” Steve said. “He’s riding with us.”

“Sprichts du English?” Bucky asked. 

“Yes,” Erik replied. “I can speak. English, German, Yiddish, some Russian. Good interpreter. I can work for Allies?” 

“How old are ya?” Bucky asked.

“Sixteen,” Erik said. 

“You are twelve,” Bucky told him.

“I’m just small,” Erik replied.

“Yeah, because you’re twelve,” Bucky insisted. “Well, we’ll make sure the folks handling the refugees take good care of y – “

“No, he’s coming with us,” Steve said. 

“What?” 

“Erik’s coming with us to HQ. We could use an interpreter. And he’s small enough to make a good spy. He’s had enough of camps, ain’t ya, kid?” he asked, and Erik nodded. 

“You wanna join the allies, huh?” Bucky asked.

“I go with Captain America,” Erik announced. 

“Yeah, that’s what I said, and now I know better,” Bucky replied, but he was grinning. “Fine, on your own head be it. Sixteen my ass,” he said to Steve. 

Steve took off his helmet and plopped it onto Erik’s head. “Sorry, got a new sidekick now,” he told Bucky, who laughed. 

Years later, when a magazine asked Erik Lensherr why he agreed to become Captain America after the disappearance of Steve Rogers, he said, “Steve took a terrified twelve-year-old Jewish kid out of a slave labor camp, gave him a helmet, and told him he had power. I believed him. Turns out he was right.” 

ALSO IMAGINE MAGNETO AS CAPTAIN AMERICA WITH THE SHIELD. HOLY CRAP. :D 

Scenes i just cannot get over:
  • This iconic scene: When richie tozier, a 13 year old boy, was forced to face his BIGGEST fear about to murder him and the entirety of his friends, what did he do? He grabbed eddie’s head, turned it to him, comforted him to make sure 1. he was the last thing that eddie saw before their deaths, and 2. eddie didn’t die w/ the clown being the last thing he saw. Mere friendship? I think not. 
  • if this shot doesn’t convince you that reddie is as real as it could get, you’re lying to yourself. This specific angle, this specific structure of the scene just screams reddie. In this moment, possibly one of the most beautiful and important moments of the entire movie, richie tozier and eddie kapsbrak are holding hands- the LOS(V)ER cast being in the middle. This scene was included on purpose, since no scene is without one. just such beautiful babies
  • Eddie kapsbrak. buying ice cream. for himself. and none other. than one. richie tozier. on a. 4th. of july. parade. that spells gay.
  • CLOWN ROOM. richie tozier was lured into a room full of his biggest fear by eddie kapsbrak. Necessary background info: pennywise, a murderous monster who feeds off of children’s fears, used georgie to lure bill in the basement/neibolt house- since it was bill’s greatest fear to face his guilt and grief over georgie. what does this mean for richie, when HE VOLUNTARILY, WITHOUT EVEN THINKING, RAN INTO THE MYSTERIOUS AS FUCK ROOM IN A NEIBOLT HOUSE JUST BECAUSE HE SAW/HEARD EDDIE GIGGLING IN THERE? AND WHY DID PENNYWISE INTENTIONALLY CHOSE EDDIE AS A BAIT TO LURE HIM IN? HM? ya i think i made myself clear.

  • The projector scene, where 1.richie tozier was the first to realize eddie kapsbrak having a mild panic/asthma attack; and 2. instinctively pulled eddie kapsbrak towards himself as soon as pennywise became a physical threat to their safety. richie tozier literally fucking pulled eddie kapsbrak into his arms. in to his arms. i speak no more.
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#okay but this scene?? #isak initiating their first eskimo kiss?? #and like you can tell Even is a little surprised at first #but then he returns the gesture and smiles with so much fondness #probably thinking how cute this boy lying next to him is #and how happy and in love he feels at that moment

I saw Bill [Skarsgård] for the first time on a monitor while one of my castmates was shooting a scene, and we all had to be there for it. The first time I saw him in person he was wearing full clown makeup and a tank top. Even without full costume it was still terrifying, seeing as he is 6’4” But when we officially met, he was super nice, which was unsettling with all of his makeup on. — Wyatt Oleff

When we shot the scene in the National Cathedral where Bartlet’s walking down the aisle and cursing at God, first of all, we shot it at the National Cathedral in Washington. It’s a magnificent place. And, we were rehearsing, and I looked behind me and saw in the back of the room that a number of clergy had gathered, and I thought, ‘You know, I should tell them what’s about to happen. It seems like the least I can – the least rude I can be is to at least tell them what’s gonna happen.’
I walked up to the priest that was closest to me, and said 'I just wanted to let you know that Martin Sheen, in this scene we’re gonna do, he’s gonna curse at God.’
And the priest said, 'I know. It’s gonna be great.’
—  Aaron Sorkin (Two Cathedrals)