#2x09 posts

[2x09katerina]

Naruto's blood's getting on everything. It's everywhere. It's even in her mouth from the taste of his breath. Her fingers are so sticky. His back—it's damp to the point of being wet. He's going to heal. He's staring into her eyes, looking right through her. He's going to heal. Konoha is gone. He's not her closest friend. He's just the only thing that won't die. She needs to gag. She needs space to push him off her and stumble away to retch. “Get up,” Ino whispers. Holding eye contact keeps her motionless. He wheezes; flecks of his blood spray on her cheeks now. She isn’t sure if she’s ever felt like this before. People die. Ino’s watched them do it. It’s just that it’s Naruto. Naruto just— He laughs weakly. “I can’t.”

Ino doesn't die with honor or glory. Instead she is just dead. Read it here!

[submissiveness]

“god still loves you, no matter what.”

[livepasthope]

the thing about black sails

[bisexualfbiagents]

THE X FILES | Firewalker (2.09)

[the-bus-called-graveyard-8]

[aceofwhump]

Graceland 2x09

[thoughtfulchaos773]

"There's a lot being done subconsciously to push the audience in different emotional directions."

 -Andrew Wehde -Cinematographer, The Bear

The creators of the show are so thoughtful and precise! Since I wrote about colors and lighting in The Bear. I want (from a cinephile perspective) to observe the lighting and camera choices for 2x08 Bolognese and 2x09 Omelette.

After writing my meta, I listened to this podcast that focuses on The Bear's cinematography; I did this to see if I needed to be more analytical instead of a hardcore shipper. I've pondered on the similar blue lighting of Sydney's tattoo reveal and the love scene, and it's worth noting since there's more Syd & Claire scenes where you can compare the lighting and camera choices.

I interpret the two scenes as high-key lighting. The choice of a well-lit scene sets the mood for more openness and optimism. The visuals give the audience direction to focus on the script and what the actors say in the scene. This lighting choice is in romance and comedy genres. Think wedding scenes as the lighting helps the audience pay attention to the romance happening between two characters.

We can catch everything when it comes to high-key lighting, every expression, movement, and every prop in the scene. The golden sunlight gives the audience a sense of peace, romance, and a dream-like state. The two scenes suggest the warmth the main character feels for the other character on screen.

Notice the scenes where Carmy stares at Sydney? It's primarily high-key lighting. The scenes ask the audience to take notice of Carmy's perspective as he takes in Sydney.

Oh, and remember this quote from Molly (Claire):

The well-lit moment for Claire and Carmy-The lighting and camera movement at the beginning of the scene suggest the morning after, In 2x08, we get this far-away shot where we can see the window as Claire enters the kitchen.

But suddenly, we're zoomed in on Carmy and Claire's faces - this closeness feels overwhelming. It tells of the hidden dread in their relationship. The dreadfulness is prominent when Carmy gets lost, staring at Claire as he talks about the test.

This reminds me of @currymanganese reblog on the subject of color:

The pink hues overlaid on Claire's scenes(2x09 omelette) in Carmy's panic attack can also represent him trying to look at her with rose-colored glasses/rosy retrospection, and ultimately failing to do so because of the way she reminds him of his family

The exchange of looks is so interesting. Notice Carmy's worry, and Claire's smile drops for a second. The camera's movements tell the audience that Carmy looks at Claire differently. As an artist, he catches every detail of the person. The focus on Claire, what used to bring him peace, disappeared when his family ruined his inspiration and sense of joy.

Now, the table scene:

The sun is beaming through the large windows and lingers around Syd and Carmy. It's the brightest the audience has seen from this season; as the camera moves closer to Carmy and Syd, the table disappears and It's a smoother transition, and we barely notice that the table disappears from view as we're closer to the characters.

Like the scene with Claire, Carmy gets lost in staring at Sydney, but there's no sense of dread. Instead, there's almost a dazed look in his eyes as he takes her in.

Well-lit scenes focus on the dialogue, and we can compare the discussion 2x08 and 2x09- both are about sharing their worries and fears. The difference is that the light remains on Carmy and Sydney, and Carmy is completely focused on Sydney rather than what's happening in his head. The scene gives the audience this soft direction to only focus on Sydney and Carmy's few moments together. The lighting asks us to view Sydney like Carmy sees her- bright, warm, and peaceful. I consider this a positive outlook on what's to come for Syd and Carmy.

Sidebar: Another thing to make note of with cinematography- Andrew Wehde said they make notes of the lighting they want to reappear in episodes- so I'm not too far off in this meta.

Watch more:

The Bear Cinematography

Season 2 panel - this interviews mentions that scenes that's anxiety ridden uses zoom ins* -cue the Carmy Claire scenes.

[its-leethee]

i was just sitting around thinking about jelly tarts and then i remembered that callum's and viren's dark magic dreams both featured a scene in the king's bedroom with a lost loved one and

[angst-is-love-angst-is-life]

Barry when Oliver and Felicity

[teruel-a-witch]

Steve looking at Danny + Reductress headlines

[adhd-merlin]

don't talk to me

[2x09katerina]

Sai hands Ino a torn notebook page on which a sketch of her has been drawn. In it, she's sitting in the grass, leant back against a tree trunk, and in the middle of talking, a hand raised for emphasis. Her nose is scrunched up unattractively. It must've taken real artistic talent to detail the knots in her hair. There's somehow still a sincerity to the pencil lines that knocks her around and leaves her winded. She's too flattered to even feel vain about how ugly she looks in it. "Oh," she says, looking at it. "Oh."

"Do you like it?" Sai asks, peering over her shoulder at the drawing. He's too disarming. If she saw him in public, she might not even pretend not to know him. "I used to draw a lot. I wanted to draw you when you're cute."

"Cute," Ino echoes hopelessly. She has no idea what expression she's making. Sai skips around so he's in front of her and seeing whatever her face looks like.

"Yes. Like what you said about me. So I waited for you to show it." Ino frowns, tilts her head. She motions with her hand for him to continue. He starts in surprise, not anticipating questions. "You look...nice? When you're like that," he says haltingly, looking away. "When I can see you without trying to look through your face."

No. Way. He's trying to compliment her on her personality. He's trying to say she's cute 'on the inside' or something. Her heart skips about in her chest. "If we ever see each other in public, I'll tell everyone you're my friend," she swears loyally.

"You'll never see me in public," Sai says bluntly.

[raayllum]

2x09 / 4x04

[buckera]

finally back on my rewatch and it's so wild how Clark accuses a guy of murder and attempted murder (while Pete was with him, so it's not even like he hasn't got backup on the story) and both Chloe and Lana are just like "well you're just jealous lol" and only start to pay attention when it comes down to the guy dating them both, like... there is so much to unpack here, high school kids are weird lmao

[911bts]

behind the scenes | Aisha and director Jen Lynch from filming 2x09

[lilcathsmith]

Greg in every episode of CSI (27/328) • And The There Were None •