#once again THE CINEMATOGRAPHY OF THIS SCENE>>>>>

[thebrokengate]

I think the lighting, blocking, and full general set-up of this scene is brilliant and I want to talk about it for a little bit.

We begin with Micah being the one in the light as shown in the images above, sitting in a way that positions himself above Dutch and Arthur, also shown here:

This is a way of showing that Micah has asserted a position of dominance over the two of them and over the entire situation as a whole, being the one to orchestrate the moments they find themselves in danger of being caught by the Pinkertons like what just happened a few minutes prior when they went after Leviticus Cornwall. But what's the point of Micah being the one in the light? Because of this second shot where Dutch comes up to him for the papers.

Micah has become Dutch's figurative light, his savior at this point. Where everyone else has shown doubt to Dutch and "disloyalty".. or as we might call it, trying to make him take accountability and responsibility as a leader.. Micah has been has yesman, his ride or die, the guy who will say how high when Dutch tells him to jump. He's the one person left who won't question Dutch and that's what Dutch professes that he needs: blind loyalty.

In the next shot, Micah is shown in the background between Dutch and Arthur:

This is an extremely important shot that illustrates not only Micah coming between Dutch and Arthur's friendship, but it also sets up a struggle between them over the way Micah has come off to both of them. Where Dutch sees Micah as his "saving grace" in this time where everyone else is doubting him and has really followed Micah's lead so much that it's allowed him to be just as reckless, chaotic, and even sometimes brash with others in ways Dutch never used to be as Micah has opened up the door for him to grow to his worst potential yet as a person.. Arthur sees what Micah's influence has allowed Dutch to become and attempts to coax Dutch into changing his mind once more to no avail.

Dutch decides once again to choose Micah, leaving Arthur to nod to himself, and for a moment, hide his eyes from the camera under the brim of his hat:

He knows that he lost the battle once more, that he can't win Dutch's confidence back anymore after he's shown Dutch that he no longer has full faith in him as long as he's continuing on doing the crazy risky things he's been doing. He's left alone in the scene while Dutch and Micah speak off to the side because, in a heavy-handed way, the scene is showing that Arthur truly is alone here.

The scene ends here with Dutch and Micah ready to ride off on their own:

Dutch has made up his mind to go through with his plans and shiftily mentions that the things he and Micah need to figure out are just to do with "the plan" and "getting outta here", reassuring Arthur that "nothing's changed" when Arthur knows all too well that everything has. On their horses, Micah and Dutch are now both in a position of dominance over Arthur, talking down to him while the two of them are on equal ground - inherently blocking the two of them as being against Arthur and his ideas. But when they ride off, Micah falls into line, following Dutch out as he's back into a position of being "the sidekick" to Dutch's "frontman".

The scene reminds me a lot of this also brilliantly mapped out scene from the 1985 movie Re-Animator that does very similar things as the scene above (linked in the underlined text).

If you want to study the full scene for yourself, check it here at 12:18:38. (link isn't set to the right timestamp for me, it's a minute ahead for some reason that I don't understand how to fix, but just scroll back to the provided time.)

Anyway, I really love the cinematography and little details of this game that you don't at first see.

"Don't play dumb and superior at the same time, Morgan. We all knew sooner or later Cornwall had to go."

Just a Social Call

[brianskangs]

"Among all of the possibilities, Thank you for choosing me" — Welcome to the Show (DAY6)

[aikawa-kazuki]

ok let me have my smart ass moment for once and use my 7,5 years of art schools

the scene that got me in "ooOHOUH 🫵" and wanting to kiss cinematographer on the mouth was this one:

all of the boys are out of school and as usual heading to snack stands. chian is in the middle of the scene between choices/ options.

this scene is amazing use of rule of thirds (i love using this one when i work on my artworks lmao; to those unfamiliar it's basically a composition rule based around golden ratio and in order to draw your eyes to important stuff you put the important stuff more less were the line cross (so for example faces/eyes) but also you divide scene to fit in those rectangles to create nice and balanced compostion - see the picture below; i generally do the rule of thirds by hand/eye so they aren't very correct but i was complemented on nice compostion multiple times so)

and also cleaver use of red as accent colours to draw our eyes even more

also rather simple note but amount of layering is 🤌‍

3 layers + background may not seem like a lot but when watch dramas and are a cinematography junkie like me you will notice how many dramas will choose just 1 layer + background (ofc not every scene needs endless amount of layers but especially in gelboys it adds to the overall maximalism of the whole series).

another scene that also caught my eye during ep 3 was this one:

rule of thirds and the sheer dominance of lines is just amazing.

soon after we get this scene:

baabin being obvious third wheel. again we got rule of thirds to draw our attention to baabin, despite 4mod and chian being there. (extra points for the red double decker in background :P it very much wasn't intentional the way they filmed all of it but it draws our attention to baabin even more).

and i really liked this scene too, it looks really nice for same reasons i mentioned earlier

[gothhabiba]

Nosferatu (2024)

I'll tell you right now that I'm going to call everyone by their Dracula names because I'm sorry but I don't know the proper ones

The camera angle when the first Germany part of the movie opens! you're so in the streets, so in the crowds. idk if that's the cinematography or just that I haven't seen a film on such a large screen in a long time?

The scenes with Count Orlac in the castle and how civil he is in his speech (demanding to be addressed by his proper title; forbidding Jonathan to leave but saying "you will stay as I advise," not e.g. "as I command"), and how thin but impenetrable that veneer of civility is. For "civility" read here all of its implications of "civilisation"

The first scene of the ship being in perfect profile, sailing on a sunny sea with picturesque clouds in the background, just like a painting!! like an Age of Sail painting, and all the things about aesthetics, colonialism, depiction-as-claiming-of-ownership, that that implies.

And then the next time you see the ship, it's storming, the camera pans in from over the stern and forward, the ship is rocking, it's much more down in it, the sunny idealism of imperialist fortune-making brought down to its gritty reality

The East As Contagion (free square)

Major missed opportunity to make the ship more explicitly imperialism-flavoured

Female Sexuality As Dangerous And Inviting Contagion (free square)

Lucy and Arthur already being married and having children, specifically her being pregnant again, Lucy and Arthur as "heterofuture" (after @metamatar), reproductive futurity, him being a shipman, their money being conspicuous and being from shipping--

then Mina having one of her episodes just as they're about to kiss, in the water, dress pulled up, legs open to the water (to the Contagion From The East), convulsing--! Inappropriate female sexuality (inadequately contained, inadequately future-oriented, the West as future, heterosexuality as future, female sequestration in the home to raise children who are also appropriately heterosexual as futurity) and how inappropriate female sexuality interrupts the heterofuture that Lucy & Arthur's almost-kiss represents.

Lucy being very light in colouring and lit so as to emphasise that fact, obsessively dressed in white and placed in all-white rooms, versus Mina being dark in colouring (I mean of hair & eyes) and dress, reproductive futurity as whiteness

The Insane Asylum piquing itself as morally upright, scientific, humane, modern, future-oriented institution; the doctor's "don't lock him [Renfield] up, we don't do that here"--and then of course he stays locked up and restrained, and more so than he was before the doctor spoke to him (so gently and kindly and civilly)

Renfield caressing a bird Dracula had given him and saying "master likes the pretty ones," Mina as bird, birds in cages as metaphor for Victorian womanhood and sequestration within the home, Jonathan saying immediately when the men plan to go hunt Dracula down that Mina isn't going

Something about the drunk (?) man gently banging his head against a wall whom they have to pass to get to Van Helsing's, and this coming on the heels of the scene in the asylum

Mina becoming poorly specifically when Jonathan leaves, her saying that she's unwell because he's gone, Lucy saying "and Jonathan leaving caused your..." and Mina finishing "melancholy." When, like, obviously what's being elided here is the idea that Mina is unwell because she's sexually unfulfilled, the Victorian idea that once a woman has sex she has to continue to or she'll become physically and mentally unwell--a series of ideas you may be most familiar with under the heading of "hysteria."

Mina talking about her "epilepsies," insert everything about Victorian medical science versus popular culture and how ambivalently epilepsy was treated as effectively demonic and uncontrollable on the one hand, or subjected to modernising theories of disease (including and especially mental illness) on the other hand--

which, obviously, the "science versus popular superstition" is a significant part of what animates this. I think they brought this out very well & maybe even a little too explicitly

The fact that it is Germany's (England's) "modern" and "scientific" ideas that allowed this to happen, when Nosferatu had grown weak in Transylvania because of the superstitions of the local populace and especially the "g*psies"--I have to think about it more but there's a countercurrent in there somewhere--expressing anxiety not necessarily on behalf of, but about, "Western" modernity and heterofuturity

That Mina x Jonathan sex scene was so good even & especially because of the demonic possession / doing-it-to-prove-a-point thing. they're so endlessly devoted to one another and I love them so much

Needed an intermission. really really needed an intermission

Just the sexiest Dracula adaptation ever. horniest by far, by far. yes, even including that other one, which really wasn't sexy or horny at all imo.

Whoever was involved in making this movie is very, very familiar with Victorian anxieties and motivations and rhetoric and very, very psychosexually disturbed. perfection

My girlfriend complained that all the sex was missionary-style but I think that worked perfectly. For one thing, think of "missionary" and all the colonial implications there. The implications of heterosexual reproduction specifically within marriage that it carries. Also the implications of domination that come with being physically on top of someone, and the fact that the way Nosferatu feeds on Jonathan bears close resemblance to the way he feeds on & has sex with Mina--

then Nosferatu apparently telling Mina that Jonathan was "pathetic" and "weak" and "womanish"--!!!!!!! And the image of spread legs (recall Mina's scene in the water, also Lucy after her death) as surrender. If all the sex and quasi-sex scenes weren't so formulaically heterosexual in this particular way, these parallels wouldn't work as well.

And speaking of Jonathan, it's also interesting that his seduction-by-three-brides-of-Dracula thing is cut out to emphasise instead Mina's seduction by Dracula. We don't get any of that reference to his "indiscretion" (with Mina holding his hand sympathetically, forgiving, perfect angelic Victorian wife) that we get in 1992.

Stupid ending. there is never a good or poetic or touching reason to kill the woman at the ending of a movie. it's always stupid. like I get that she sacrificed herself to save everyone and took agency by reversing things so that inside, within the home, within the bed was where the war was fought, and outside, with the men was just a diversion and I get that this is an intentional subversion of the Angel-in-the-Home bird-in-a-cage situation. I still think it's stupid.

When Jonathan kisses Mina's hand as she's naked, covered in blood, legs spread, covered by the body of Nosferatu, and he pulls away, and he's so covered in tears and snot and saliva and all those liquids make so many stringy trails in the backlit space between her hand and his face as he pulls away. so so so good.

the sound design was incredible

[ismyevilregal]

Tethered Shadows

Warnings: I have no idea what I'm doing.

Chapter One: Quiet Collisions

The insistent buzzing of my alarm dragged me from a dream where I was flying—weightless and free—over a city bathed in an ethereal, otherworldly light. Disappointment, sharp and sudden, pierced through the grogginess. 7:00 AM. Another day, another grind. I slapped the snooze button, the insistent buzzing replaced by a gentler hum.

Five minutes later, the alarm shrieked again, more insistent this time. I groaned, burying my face in the pillow. The scent of stale coffee and something vaguely metallic—the lingering odor of last night's takeout—assaulted my nostrils. Finally, I surrendered, throwing back the covers and swinging my legs over the side of the bed. The floor was a cold, unforgiving slab against my bare feet.

Morning light filtered through the blinds, painting thin stripes across the room. It wasn’t much—just a small studio apartment I’d been calling home for the past year—but it was mine. A safe little corner of the world. But at this particular moment, this studio apartment, once a source of pride and independence, now felt more like a prison cell. The peeling paint on the walls, the perpetually flickering fluorescent light above the kitchenette, the constant drone of traffic from the street below—it all seemed to conspire to dampen my spirits.

First, I stumbled toward the bathroom, the world a blurry kaleidoscope of colors. The mirror reflected a stranger—eyes bloodshot, hair a tangled mess, a faint shadow of a beard clinging to my jaw. I splashed cold water on my face, the shock momentarily invigorating.

Then I shuffled to the kitchen, bare feet padding against the cool floor. The coffee maker, a relic from a previous roommate, whirred to life as I poured water into the machine, the comforting hum filling the quiet. Something about the morning ritual was soothing, grounding me before the day's chaos. While waiting for the coffee to brew, I leaned against the counter, scrolling absentmindedly through my phone. A few unread messages from classmates about an upcoming group project. I made a mental note to respond later.

By 8:15, I was out the door, backpack slung over my shoulder and earbuds in, a playlist of lo-fi beats helping me navigate the crowded sidewalks. College was only a short bus ride away, and I used the time to skim over my notes for class. Balancing work, school, and what little social life I had was a juggling act, but I’d managed to make it work so far. Mostly.

My first lecture of the day was lively—a class on film theory that hooked me from the moment I walked in. The professor, an eccentric older woman with a penchant for dramatic hand gestures, paced the room as she deconstructed scenes from classic films. Today’s focus was on Hitchcock’s use of tension, and I found myself scribbling furiously in my notebook as she dissected a pivotal scene from Psycho. It was one of those rare moments where learning felt less like work and more like inspiration.

The grand entrance hall, usually filled with the hushed whispers of tourists, was eerily silent. The air was thick with anticipation, a palpable tension hanging in the air. I spotted Greg near the entrance, his face pale and drawn.

"You look like you've seen a ghost," I said, trying to lighten the mood.

Greg chuckled nervously. "Try surviving Professor Sharma's lectures. It's enough to make a grown man question his life choices."

After class, I grabbed a quick coffee and headed to my part-time job at the campus library. The familiar scent of old books greeted me as I walked in, and the quiet atmosphere was a stark contrast to the bustling campus outside. My shift was predictable: shelving books, assisting students who couldn’t figure out the catalog system, and occasionally sneaking a peek at my own assignments during the slower moments. I spent part of the afternoon helping a fellow film student locate obscure texts on 1970s cinematography, exchanging quick opinions about the underrated brilliance of The French Connection before returning to my duties.

It wasn’t glamorous, but I liked it. The library felt like a sanctuary, a place where time slowed down and the rest of the world melted away. Occasionally, I’d catch glimpses of students huddled over laptops, editing films for their projects, and it reminded me of why I loved what I did. Cinema wasn’t just a major—it was a lens through which I saw the world.

By the time my shift ended, the sun was beginning to dip lower in the sky, painting the horizon in shades of orange and pink. I grabbed a quick bite at the cafeteria—a less-than-impressive turkey sandwich—before heading back to my apartment. The bus ride was quiet, the city lights flickering outside the window as I leaned my head against the cool glass. My phone buzzed in my pocket, and I fished it out to see a text from Tara.

Tara: Hey, can you meet me at the diner around 6? I have someone I want you to meet.

Y/N: Someone?

Tara: Just trust me. You’ll like her.

Y/N: …Should I be worried?

Tara: Nope. Promise.

I stared at the screen for a moment, debating. Tara’s matchmaking efforts weren’t exactly a secret, but she’d never been this cryptic about it before. Still, I trusted her. If she thought it was worth my time, it probably was. Plus, it was a good reason to go out and relax a bit after a long day.

Y/N: Fine. I’ll be there.

The remainder of my evening before the meeting passed in a blur of small tasks: drafting ideas for a screenplay assignment, organizing my cluttered desk, and watching clips from a documentary on the rise of independent cinema in the 90s. By the time 5:30 rolled around, I was shrugging into a hoodie and heading back out the door, the crisp evening air waking me up a little more with each step.

The diner buzzed with a low hum of conversation, punctuated by the occasional clink of cutlery against ceramic plates. I wasn’t sure why Tara insisted on meeting here, but then again, Tara always had a way of picking the most unassuming places for moments she swore were important. The chipped laminate table beneath my fingertips felt oddly grounding, even as a sliver of unease twisted in my chest.

“She’ll be here soon,” Tara said, glancing at her phone. Her tone was casual, but her eyes gave her away. There was an eagerness, a spark that told me this was more than just another introduction. “She’s just…” Tara hesitated, searching for the right word. “She’s not great with people. Don’t take it personally.”

“Noted,” I replied with a small smile, though I wasn’t sure what I was supposed to feel. Curiosity? Anxiety? The mixture of both left my coffee cooling in its mug, untouched.

The bell above the door jingled, and Tara’s head snapped up. I followed her gaze, and that’s when I saw her. Sam Carpenter wasn’t what I expected, though I couldn’t have said what I had been expecting. I turned my head quickly to glare at Tara for a moment, but it didn't last long before my attention was back on her bigger sister again. Her presence was immediate, sharp-edged, and deliberate like she carried the weight of her own gravity. Dark hair framed a face that might have been soft once, but the years had hardened it into something unreadable. Her eyes were the kind that didn’t just look at you but through you, as if she were cataloging every detail.

She paused just inside the doorway, scanning the room with a wariness that felt almost instinctual. When her gaze landed on Tara, some of the tension eased, but only just. Sam crossed the diner in a few strides, her boots scuffing against the tiled floor.

“Hey,” Sam said, her voice low and even, almost flat. She slid into the booth beside Tara, her movements economical, like she’d planned each one. For a moment, she didn’t even look at me, her attention fixed on her sister.

“Sam,” Tara said, her tone light and encouraging. “This is my friend, Y/N. The one I told you about.”

At last, Sam turned her head toward me, and I felt the full weight of her gaze. It wasn’t hostile, exactly, but it wasn’t welcoming either. It was searching, measuring. The kind of look that made me want to shift in my seat but refuse to out of sheer principle.

“Hi,” I said, offering a small, non-threatening smile. “It’s nice to meet you.”

She didn’t respond right away. Instead, her eyes flicked to Tara, then back to me. I guess she was just as confused as I was. “You too,” she said finally, though it sounded more like a formality than anything genuine.

The silence that followed felt heavier than it should have. Tara, ever the fixer, jumped in to fill the void. “Sam just got back in town,” she said, her voice a little too bright. “It’s been… a lot, but she’s settling in. Right, Sam?”

Sam’s jaw tightened slightly, but she nodded. “Something like that.”

I didn’t miss the way her shoulders stiffened at the words. Whatever she’d come back from, it wasn’t something she was ready to talk about. The walls around her were practically visible, brick and mortar and steel, built to keep anyone from seeing too much. But it wasn’t my place to pry, not when I’d just met the woman.

“Well,” Tara said, leaning forward, “the two of you have a lot in common. I think you’ll get along great.”

Sam’s eyebrow arched slightly, as if she didn’t quite believe her sister. “Is that so?”

“Definitely,” Tara said, undeterred. “Just give it a chance.”

Sam’s gaze shifted back to me, and for a moment, there was something almost challenging in her eyes. “Guess we’ll see.”

It was then I realized just how much smaller I was next to her. Tara often joked about my height when she was feeling particularly mischievous, but we both knew we stood eye-to-eye. Sam, however, was a solid presence—a towering figure that only added to her intensity. The size difference was almost laughable, but I wasn’t about to let it shake me.

I wasn’t sure what Tara was trying to accomplish here, but one thing was clear: Sam Carpenter would be a puzzle. And I wasn’t sure if I wanted to solve her or if she was better left a mystery. But before I could settle too much into my thoughts, Tara cleared her throat, bringing my focus back to the moment.

"So," she started, a little too enthusiastically, "what do you two think of… Hitchcock?"

The question felt forced, like Tara was trying to find the safest possible common ground to get the conversation rolling. My lips twitched into a smile, appreciating the effort, but I wasn't sure it would land.

"Hitchcock?" Sam asked, her tone flat. Her arms crossed as she leaned back against the booth. "Never really saw the appeal."

I blinked, momentarily thrown. Not because I couldn’t understand the opinion—plenty of people thought his style was overrated—but because the way she said it felt almost deliberately provocative, like she was daring me to disagree.

Tara winced. "Sam…"

"No, it’s fine," I said quickly, leaning forward. I could feel that challenge in her gaze again, and something in me itched to meet it. "I get it. Not everyone likes the classics. What’s your style, then?"

Sam’s brow furrowed, as if she hadn’t expected me to push back so easily. For a moment, she didn’t answer, her fingers idly tracing the edge of the table. When she finally spoke, her voice was quieter, less sharp. "I guess… I like stories that feel real. Messy. People making mistakes, doing stupid things… stuff that actually matters."

Her words hung in the air, heavier than I anticipated. Tara shifted uncomfortably in her seat, and I wondered just how much of that statement was tied to Sam’s personal history.

"That’s fair," I said softly, not wanting to press too hard. "Sometimes the most compelling stories are the ones where you don’t know how they’ll end."

Sam’s gaze flicked to me again, and this time, there was a flicker of something in her expression. Not quite warmth, but maybe a hint of curiosity. "Yeah. Exactly."

Tara exhaled dramatically, breaking the tension. "Okay, great. We’re talking. Progress!"

I laughed, shaking my head at her antics. "Subtle, Tara. Real subtle."

"I try," she said with a wink. "Anyway, I’m gonna grab some pie. You two want anything?"

I shook my head, and Sam muttered a quiet "No," as Tara slid out of the booth and made her way to the counter. The silence she left behind felt different now, less heavy and more… expectant.

"So," I said after a moment, "what’s your story?"

Sam’s eyes narrowed slightly, as if she were deciding whether or not to answer. "Not much to tell."

I raised an eyebrow. "Everyone’s got a story."

She huffed a quiet laugh, though there wasn’t much humor in it. "Trust me, mine’s not the kind you’d want to hear."

For a second, I considered dropping it, letting her keep her walls intact. But something about her intrigued me and made me want to dig a little deeper. "Maybe. But how would I know unless you tell me?"

Sam studied me, her expression unreadable. Finally, she shrugged, leaning back in her seat. "I guess I’ll have to keep you guessing."

It wasn’t much, but it felt like a small victory. A crack in the armor.

For a moment, the conversation settled into a quiet lull, the din of the diner filling the space between me and Sam. I tapped my fingers lightly against the table, debating whether to push further or let the moment breathe.

"You always this mysterious, or is it just part of the charm?" I asked, a teasing edge creeping into my voice.

Sam exhaled a short chuckle, her fingers tracing the rim of her coffee cup. "I think it’s more of a defense mechanism than anything else."

I nodded, sensing the weight behind her words, but before I could respond, she glanced at me with something close to curiosity. "What about you?"

I tilted my head. "What about me?"

"You don’t seem like someone who gives up easily," she noted. "Why bother trying to figure me out?"

There was something almost challenging in her tone, like she was testing me. Maybe even daring me to step back. But instead, I met her gaze and shrugged.

"Guess I like a good puzzle."

Before she could reply, Tara reappeared, carefully setting the plate of pie between us both. "Mission accomplished," she declared, sliding back into her seat with a satisfied grin. "And I even got extra whipped cream."

She shot a look between the two of us, picking up on the shift in atmosphere. "Did I miss something?"

Sam reached for her fork, her expression once again guarded but softer than before. "Nothing important," she said, but the way her gaze flickered to me told a different story.

Tara arched a brow, clearly not convinced but choosing not to push. "Alright, well, I’m eating before either of you try and steal a bite."

I laughed, reaching for my own fork. "No promises."

As the three of us settled in, the conversation drifted into something lighter, but the undercurrent of that moment with Sam lingered—unspoken but present, like a secret waiting to be unraveled.

------

The next morning unfolded in slow motion, sunlight creeping in through the blinds like it had all the time in the world. But something was different. I felt lighter, more awake than I had any right to be. Maybe it was the residual warmth of last night—the easy conversation, the feeling that I had nudged a door open just a little.

A buzz from my phone pulled me from my thoughts. For a brief second, my pulse skipped—Sam? But no. Tara.

Tara: Morning! You survived my sister’s brooding. Congrats. Wanna grab coffee?

A grin tugged at my lips. Even through text, Tara’s energy was infectious.

Me: Morning. I’ll take that as a badge of honor. Where and when?

Her reply was quick—café, mid-morning. Just like that, the day had direction.

As I got ready, I caught my reflection in the mirror, my gaze lingering longer than usual. Maybe it was nothing. Maybe it was just another day. But for the first time in a while, something about it felt... new. Like the start of something. And I wasn’t sure if that excited or terrified me more.

The café was quiet, the air thick with the scent of fresh coffee and the low hum of early risers buried in their screens. I stepped inside, the soft chime of the door marking my arrival. I ordered a coffee to go, restless energy thrumming beneath my skin. My mind kept circling back to last night—Sam, the weight of her silence, the push and pull I couldn’t quite decipher.

Lost in thought, I barely noticed Tara until she breezed in, her presence a sharp contrast to my uncertainty.

"Hey, look who actually showed up!" she called, grinning as she made her way over.

I laughed, the tightness in my chest easing. "Wouldn’t miss it."

Tara pulled me into one of her signature hugs—warm, slightly suffocating, but somehow exactly what I needed.

"You ready for coffee? Or are you still in the ‘don’t talk to me yet’ phase?" she teased, eyes gleaming.

I exhaled, the tension unraveling bit by bit. "I think I’m awake now."

We settled into a table by the window, the city stretching beyond the glass, bathed in the soft glow of morning light. Tara had that effect—making even the most mundane moments feel like something worth being present for.

"So," she started, casual, but sharp. "How’s it feel surviving the Sam experience?"

I took a sip of my coffee, choosing my words carefully. "It’s... different. She’s complicated."

Tara smirked. "You don’t say. You’ve figured that out already? Impressive."

I hesitated before admitting, "I’m just trying to figure out where I stand with her. She’s got this wall up, but it doesn’t feel like she wants it there. I can’t tell if she’s just playing it cool or if she really doesn’t care."

Tara leaned back, tapping her fingers against her cup. "Sam doesn’t do anything unless it matters. She doesn’t waste her time. If she’s acknowledging you, that’s something." A flicker of something softer passed over her face. "She’s been through a lot. Letting people in isn’t easy for her. But if she’s letting you orbit, even a little? That’s progress."

I nodded, mulling over her words. "I just don’t know what she wants from me."

Tara’s grin widened. "Maybe she doesn’t know either. Doesn’t mean you shouldn’t try to find out. Just... don’t let her push you away. She’s good at that."

The words settled deep. Sam was a puzzle I wasn’t sure I should be solving—but the curiosity wouldn’t let go.

"Thanks for the advice," I said, half-smiling. "Guess we’ll see where this goes."

Tara raised her cup in a mock toast. "That’s the fun part. The not knowing."

I sat there, watching the world move outside, feeling the quiet shift in the air. Sam, Tara, all of this—it was unfolding in ways I hadn’t expected. And maybe, just maybe, that was the point.

Tara, ever perceptive, tilted her head, a sly glint in her eyes. "You should text her."

I blinked. "What? Now?"

"Why not? What’s the worst that could happen?"

A lot, I wanted to say. But I didn’t.

Instead, I unlocked my phone, my fingers hovering over the keyboard. Tara leaned in, smirking. "Be honest. Keep it simple. Something like, ‘Hey, I was thinking about our conversation yesterday. It was cool talking to you.’"

I huffed a quiet laugh, shaking my head. But she wasn’t wrong.

Hey, I was thinking about our conversation yesterday. It was cool talking to you.

Before I could second-guess it, I hit send.

Tara watched me, satisfaction written all over her face. "There. Easy, right?"

I let out a slow breath. "Not sure if easy is the word, but... it’s done."

She lifted her cup in a knowing gesture. "Now, we wait."

And so I did. Through the rest of our conversation, through the rest of the morning, through every casual check of my phone, heartbeat spiking each time it buzzed. But it was never her.

By the time I got home, the weight of the day had settled in my bones. I tossed my bag onto the couch, my phone still in my pocket, untouched. I told myself not to check it. Not to let it matter so much.

I busied myself with the little things—sorting through the scattered notes on my desk, flipping through a book I had no real intention of reading, absentmindedly scrolling through social media before locking my phone again. The air in my apartment felt heavier somehow, like I was waiting for something I refused to admit.

Eventually, I sprawled out on the couch, arm draped over my face, willing my mind to focus on anything else. It wasn’t working.

And then—

My phone buzzed.

I sat up too quickly, pulse hammering as I fumbled to grab it, screen lighting up in the dim room.

Sam: You too.

Just two words. But they unraveled something tight in my chest.

I stared at the message, reading it once, twice, three times, as if deciphering some hidden meaning within it. It wasn’t much, but it was something.

And something was more than nothing. When it comes from Sam, as I'm learning, something is actually a lot.

A slow smile crept onto my face as I leaned back against the couch, exhaling a breath I hadn’t realized I was holding.

[lemotmo]

Just rewatched the episode and omg the kitchen scene. Absolute cinema. Eddie just walking in calmly seeing the groceries seeing buck and then realising buck is pissed about something. It's so married coded. How many times have i seen arguments like this. Starting off small innocuous and then the actual problem comes out. The tension the acting... just chefs kiss. How both are hurting and just want the other to hug them. The lighting the cinematography. Hands down one of my favourite scenes in the show if not one my favorite buddie scene.

Only wish they hadn't had Ryan do the move forward and point at buck thing. Only because all I see are bad takes and ammunition for that Fandom that it's ruining my experience. I know I know I should ignore them but when it comes to Eddie i can't help it😅. Also made me wonder how the GA took this as. A scene between 'bros'? Or actually intimate moment? Do they even understand Eddie's characterization?

Anyway I'm gonna go and watch it again. Need to feed this into my veins.

I've combined these three asks, because they all touch upon a few topics I really wanted to talk about.

First of all, OH GOD YES! That scene was literal gold. It was soooo good! The acting was top notch, the direction and camera work were both amazing. Oliver was great as always and Ryan... well, that man has been showing us time and time again that he is one of the better actors on this show. They are all great, but that kitchen scene was on another level. I have rewatched it a billion times already! 😄

Both Buck and Eddie were at their most vulnerable in this scene. They wanted to show us that these two men KNOW each other through and through and even though they are hurting and grieving, they can still call each other out for their bullshit. It was like watching a married couple getting into a heated disagreement. Pure gold.

I'm also pretty sure the GA has caught on what is going on by now. 8x11 was very clear on the Buddie of it all. Then we had all those Facetime calls in 12 and 13. A lot of these people have been watching these kinds of procedurals for a very long time. 8x17 just made it more clear where this story is headed. They can see it coming.

Now for the discourse part of this reply:

I agree that it is VERY frustrating that some people have started using very loaded words, such as 'abuse' and 'assault', when it comes to Eddie's behaviour in the kitchen scene.

Especially because there is not an ounce of truth in any of their statements. In fact, most of these allegations are made because Eddie is clearly being set up as Buck's great big true love interest. And some fans do not agree with that, because they want Buck with someone else. So basically these 'abuse' or 'assault' claims are being made over a ship, which is frankly insane.

The way I look at it is that the majority of fans are extremely happy with the episode and especially this kitchen scene. But a small part of the 911 fandom have disliked and hated Eddie ever since BT happened. That hasn't changed. It never will, because Eddie is in the way of a plot device that used to be a racist and misogynistic bully. 🙄

And rereading that last sentence? Well, the fact that they keep stanning their own very problematic white man while openly hating on a half-Mexican man who had a short heated discussion with Buck? Tells me enough.

As for those few Buddie shippers/Buck stans who are also hating on Eddie? Pfff, again... nothing new, is it? Their precious Buckaroo needs to be protected at all times. Poor baby. 🙄

They refuse to let go of any of the arguments Buddie have ever had and where Eddie said something hurtful to Buck. I swear... the amount of times I still read about the whole 'You are exhausting' thing that Eddie once said SEASONS ago, is insane.

Why are people still stuck on that one line? Buck has long forgotten about that line, but some people still cling to it as some kind of misguided proof of abuse.

It's a dramatic TV-show! There will be drama between the characters! That's what makes these shows so interesting.

Buck is a grown man. He doesn't need coddling or babying. Having these kinds of confrontations and discussions will make him think and it will help his character evolve. There is no need to keep Buck into this 'oh poor baby' state of mind. Let him out!

Also, I don't think that any of these people yelling abuse know what they are talking about in the first place. Social media has really given a lot of people a skewed image of wat abuse really looks like.

Having a heated argument in the kitchen is NOT abuse. Using your finger to angrily point at someone is NOT abuse. Showing someone that you are also grieving and in pain? THAT IS NOT ABUSE!

It's frankly disturbing that people seem to have convinced themselves it is actual abuse, especially in a show that has shown us REAL abuse with the Maddie & Doug storyline.

If what happened in that kitchen between Eddie and Buck was abuse? My entire family, myself included, would be 'abusers'. I come from a passionate family and we have these kinds of arguments a lot. �� Half an hour later all is forgiven and forgotten again. 🤷‍♀️

Look, at the end of the day, there will always be unhappy people who will hate on Eddie for no reason whatsoever. It sucks, but it won't change.

I tend to ignore them and let them scream into the void. Block whenever I come across them.

Because you know what?

We all know the truth: Eddie is a wonderful man and Buck is lucky to have him in his life.

Oh and...

Buddie is going canon. Suck it up haters! 😌

[pankowcrumbs]

Louder Than Words X Will Poulter (Requested)

MasterList

Will Poulter Masterlist

18+

There’s a fine line between admiration and resentment. I’d always danced dangerously close to it with Will Poulter.

The premiere after-party was a blur of noise and lights, people swarming around in clusters, champagne flutes clinking like a background symphony. I’d worn my best smile for hours pressed cheeks, posed photos, polite chatter. But behind it, I was quietly fuming.

Will hadn’t spoken to me properly all night.

Not after the red carpet, not after the screening, and certainly not now, when I caught him laughing a little too closely with some blonde from press.

I was done pretending.

I downed the last sip of my drink and strode across the room, my heels clicking like threats on the marble floor.

“Enjoying yourself?” I asked, voice sugar-dipped and dangerous.

He turned, still mid-laugh, his expression faltering the moment he saw me. “Y/N”

“Oh, don’t stop on my account,” I interrupted. “You seemed very invested in her take on cinematography.”

The blonde blinked, awkward and wide-eyed, and quickly made her exit. Smart girl.

Will’s jaw tightened. “Can we not do this here?”

“Why not?” I hissed. “You’ve ignored me all night.”

“I haven’t ignored you”

“Then what would you call it, Will?” I snapped. “You walked ahead on the carpet. Didn’t even glance back. During the screening, you sat so far down the row I could’ve been in another theatre. And now this?”

His eyes darkened. “You're making a scene.”

“Because you’ve made me invisible,” I shot back, voice low but laced with venom.

We stood, tense, in the corner of the room. No one dared approach us now. Not with the way we were staring at each other like we were either going to rip each other’s throats out or rip off each other’s clothes.

Possibly both.

“Get in the car,” he said, his voice low, commanding.

I folded my arms. “Excuse me?”

“You want to talk? Then not here.” His eyes didn’t leave mine. “Now.”

The car door slammed behind me, and I crossed my legs, fuming.

Will slid into the seat beside me, his hands flexing in his lap like he was trying to restrain himself.

It was quiet.

Too quiet.

“So, are you going to pretend like I’m overreacting?” I said, staring out the window.

“No,” he replied, voice taut. “But maybe I didn’t want to fight in front of the press.”

“And maybe I didn’t want to feel like your fucking plus-one instead of your partner.”

He turned, eyes burning into mine. “That’s not fair.”

“Neither is being made to feel like I don’t matter once the cameras stop flashing.”

“You matter too much,” he snapped, and that shut me up.

“What?”

Will leaned forward, elbows on his knees, hands running through his hair. “I’ve never felt like this about anyone. And it scares the shit out of me.”

That wasn’t what I expected.

“Then why push me away?”

“Because it’s easier than letting myself get consumed by you.”

A silence fell between us again, but this time it pulsed with tension. Our eyes met in the dark interior of the car, the hum of the city outside muffled by tinted glass.

I didn’t know who moved first. Maybe it was him. Maybe it was me.

But suddenly, his lips were on mine desperate, angry, hungry. My fingers threaded through his hair, tugging, and he groaned against my mouth.

“This what you wanted?” he murmured, voice rough as he pulled me onto his lap.

“This what you need?” I shot back, grinding down just enough to feel him hard beneath me.

His hands slid up my thighs, under the slit of my gown, fingers teasing the lace edge of my knickers. He was breathless now, lips brushing my jaw as he muttered, “You drive me mad.”

“Good,” I whispered. “That makes two of us.”

He kissed me again, this time deeper, his tongue sliding against mine in a way that made me whimper into his mouth. His hand cupped my arse, pulling me flush against him, and I could feel how much he wanted me how tightly he was holding back.

“I should take you home,” he groaned, voice strained as he pressed kisses down my throat.

“Should,” I echoed, grinding again, slower this time.

His hips jerked under me.

My hands were already at his belt, tugging it loose. “Say the word, Will.”

He didn’t say anything. Just let out a sound somewhere between frustration and surrender, then slid his hand down the front of my knickers, fingers finding how wet I already was.

“Oh, fuck, Y/N,” he hissed, eyes fluttering shut.

I leaned in, lips brushing his ear. “Still want to pretend you don’t care?”

He growled, then dipped his head, dragging his mouth along my collarbone as his fingers moved in slow, deliberate circles. Every motion was perfectly timed teasing and firm, like he wanted to drive me to the edge and keep me there.

I buried my face in his neck, stifling a moan. “Will…”

He kissed me again, messier now, all tongue and gasps and hands tugging at fabric. I felt him press against me, aching and ready.

“Back seat,” he said hoarsely.

“I thought you wanted to take me home.”

“We’re not going to make it.”

We didn’t.

The driver had the decency to stay silent behind the divider, music low, nothing but the occasional turn of the tyres and the muffled sound of us trying to devour each other in the back seat.

Will laid me down gently, the leather cold against my back, his hands roaming with the kind of urgency that only came after a fight like that after emotions had burned too hot to contain.

His fingers slipped back under my knickers, stroking me open while his mouth found my breast, lips and teeth teasing through the lace. I arched up into him, nails digging into his back.

“Let me taste you,” he breathed, voice wrecked.

“Will” I started, but he was already between my thighs, pulling the lace down with a look of pure reverence.

When his mouth met me, I nearly cried out.

His tongue was deliberate, sinful, working me in slow, devastating circles. One of his hands gripped my thigh tightly, holding me in place while the other slid up to intertwine with mine. He never took his eyes off me.

“You’re perfect,” he murmured against me. “Every bloody inch of you.”

I was shaking by the time I came, clinging to him, gasping his name over and over like a prayer.

He kissed his way back up, mouth slick, eyes dark and blown wide.

I pulled him down to me, tugging at his trousers, and whispered against his lips, “Show me how much you need me.”

He did.

And the car kept driving.

Once we were home we had round 2.

We were curled together under the duvet, his arm draped around my waist, fingers tracing slow circles on my hip.

“I’m sorry,” he murmured into my hair.

I turned my head slightly. “Me too.”

“I’ll do better.”

“So will I.”

There was a pause.

Then he added, “Though, just for the record, I’m never letting us argue at a premiere again. I’ve got bruises on my back from the car.”

I laughed into his chest. “You started it.”

“You finished it, love,” he said, kissing the top of my head. “Spectacularly.”

[bloodstained-ballgowns]

i just rewatched ‘the woman who fell to earth’ a couple of days ago for the first time since it aired back in 2018 and the more i think about it, the more i like it.

thirteen is the only doctor for whom i feel a tangible, rose-tinted nostalgia. she wasn’t my first doctor, but she was the first doctor i watched live, the first doctor that i spent an actual extended period of time with over the episode rollout. her intro episode has middling parts (as can be expected with most episodes of Who) but there’s also so much good that i really want to highlight.

first of all, there are some really great character dynamics set up here. much more interesting than i remember, tbh. ryan is a guy who loves mechanics but is stuck in a warehouse job he hates, a guy who obviously wants to connect to people, a guy who by the end of the episode has lost both his mother and grandmother in the space of a couple of years and the step-grandfather he didn’t really want is all he has left (minus his absent father). that’s interesting.

yaz has a keen sense of justice and this raw, intense yearning to help people, to do something worthwhile, something more - the way she has chosen to express that is through law enforcement, but it’s not quite giving her the satisfaction she wants. that’s interesting.

graham’s experience with cancer means that he constantly feels like he’s living on borrowed time. meeting grace gave him purpose, gave him family, gave him the will to fight when he fought it was all but over, but now grace is gone. he and ryan aren’t related, but they’re family, and now they’ve got to figure out how to care for each other without the very lynchpin that brought them together. once again with feeling: interesting!

“i’m just a traveller. sometimes i see things that need fixing. i do what i can.” i like that they circle back to the ‘just some guy’ portrayal of the doctor here, both because it’s the one i’m partial to and because it feeds particularly well into the whole ‘the doctor is an unreliable narrator’ aspect, especially in the wake of the increased deification in the moffat era. it's a nice set up, even if it gets completely overhauled circa series 12/13. in fact, having thirteen keep this as a persistent attitude throughout the Timeless Child of it all could have been really effective re: her reticence with her companions and refusal to address or deal with her past.

the scene where thirteen builds her sonic screwdriver might be one of my favourite sequences in nuwho. i love that it’s a hybrid of alien tech and sheffield steel. i also love that they highlight the ‘mad inventor’ side of the doctor here (her teleportation circuit is based around a microwave?) and wish that they had carried it forward more. it would have been the perfect basis for her to bond with ryan over. jodie also pulls off the humour of the episode well, considering the significant shift from moffat dialogue.

i enjoy thirteen's outfit: the vibrancy of it as mirroring her childish excitability, but also as another part of the mask - if i dress all colourful then maybe i can ignore/outrun/masquerade my great capacity for darkness! etc etc. the shopping trip with yaz and ryan is a bit shoe-horned in at the end but it's cute that she finds it in a charity shop. (back in 2018 i bought a t-shirt with a couple of stripes across the chest solely because it remotely resembled the one she wore lol. nerd from a young age, me.) jodie also looks soo hot in capaldi's outfit though so a spin on the traditional suit would also have been appreciated.

some miscellaneous points: i like that she tells Karl off (“you had no right to do that”) right after saving him. i like that she gets it wrong at first and makes it clear that she’s working on the fly. she’s following her instinct, and that instinct is to help people. doctor who has been beautiful before but the cinematography takes such a huge step this era. “it’s been a long time since i bought women’s clothes” i am choosing to believe this is about river thank you and good night.

[555-yosi]

i dont really do meta (i've more experience with textual media so forgive any ignorances on my behalf) but i after seeing the Treister juicebox clip again (happy Terstay Tuesday) I went back and rewatched Any Which Way But Zeus and noticed something fascinating - when they're down in the Dr Strangelove Room, there's a big establishing shot, we do some bits, Brock fucked Tiger Shark's wife (nice.), and in the process we see where everyone is sitting.

Brock and Hunter are sitting next to each other at the end of the table near the door.

when Brock gets in trouble for cracking that hoser like a selachimorphic whip, we get another angle that shows that they're on either side of the end of the table, with no chair between them.

At this point, Treister arrives.

And Hunter immediately turns into an empty chair.

Now, vbros doesn't really do like. semantic cinematography (it's a fast-paced comedy-action show with a massive cast, the framing is pretty exclusively in service to helping the audience follow all the million insane things that happen every second), so in terms of intent, this is probably just an animation error.

However, in terms of effect, I find it quite striking. Especially considering for the remainder of this scene Hunter remains invisible. Even when we get a final wide shot of everyone, you just cannot see her. The effect is compounded by Treister's line.

I think it's incredibly meaningful that Treister shows up and detonates the scene by drawing attention to the embarrassing underwear he's forced everyone to wear, insisted that he is special and they are all beneath them, finished off by calling them all girls as an insult, and in the process completely robs Hunter of her existence.

The episode then goes through a scene at the arena, and then one at the Venture Compound, before returning to the. bunker. thing. where Hunter is once again visible, just in time for a scene about how everyone hates the code-names Treister has assigned them.

He's assigned her a feminine code-name (I think it's noteworthy that the only other attendee to get a feminine code-name is Brock, who - under the fucked up family framework the OSI operates under - is basically her son, and therefore something Treister can use to punish her). He calls on her using a woman's name, and then immediately belittles her for not conforming to OSI protocol.

And yet, when the think tank has completely exhausted themselves trying to come up with plans, literally the only person still awake, the only person still trying to appease Treister is Hunter.

But what really makes all this come together for me, what really drives home how much this scene is Hunter In Detransition Purgatory, is why they're there in the first place. Who's missing.

TL;DR - sorry for ruining Terstay Tuesday by saying I think Treister is Hunter's transphobic dad, but. well. I think Treister is Hunter's transphobic dad.

[moutheyes]

gelboys cinematography go brrr: episode 6, part 2

I'm so sorry. blame boss kuno.

previously: episodes 1-2 | episode 3 | episode 4 | episode 5 | episode 6 part 1

OK BUCKLE UP WE'RE TALKING ABOUT THE ZOOM SCENE.

I've been wondering how this show would tackle a climactic scene like this where everyone's finally coming clean about their feelings, when these four boys have so many hangups about directly expressing themselves and only know how to perform romantic gestures via social media. would any of them actually be able to say the words out loud face-to-face?

I was so deliriously pleased by the decision to house it entirely within that most pandemic-coded of apps: zoom. of COURSE they would give each other covid, of COURSE this show could have it both ways: face-to-face yet still through a digital filter. and of COURSE the show would utilize zoom's specific functions and quirks to elevate the dramatic tension of the scene while also finding a way to drive home the humanity of all four characters.

blending zoom interface with "real space"

because we've spent so much time with these characters in their own spaces, we know the details of fourmod's graffitied bedroom walls and bua's considerable makeup collection and that conveyor belt in baabin's family's restaurant, the show is able to switch back and forth between the square-framed, low-res constraints of the zoom interface and the vibrancy of the "real space" inhabited by each character. in fact, you almost don't even need the frames on the right to identify the POV for the frames on the left.

building tension and showcasing interiority in digital space

in real space, the characters can only stare at their screens, which doesn't make for the most dynamic shots from a cinematography standpoint, as seen in the shots below. they're speaking as digital avatars, to other digital avatars, so even if they're framed as if in conversation, the eyes aren't pointed at each other.

but even in digital space, the camera can capture emotional depth through the tiny moments we're all familiar with: the slant of someone's eye line that indicates which zoom square they're looking at. this slow zoom in (pun unintended but unavoidable) on baabin, in the moments between fourmod asking bua who he likes and bua's answer, is so deliciously tense because of the way baabin's gaze moves back and forth between fourmod's square and bua's square. I think deep down he already knows what bua's answer is going to be, but he can't help the way his eyes move toward fourmod's frame despite fourmod not even having his camera on. even though the question was directed at bua; the uncertainty in baabin's heart is the true emotional focus of this moment, so the camera really closes in on him, letting the audience see his interiority and humanity brilliantly even within the digital trappings of an app with a fake background.

the inherent comedy of zoom

I cannot tell you how fucking hard I laughed when chian's heartfelt confession was interrupted by the teacher scolding her students. the contrast between the emotion of the moment and the absurd reality of his surroundings—the cutting back and forth between the zoom interface and real space—and the fact that he saw fourmod was single again and ran back to his old high school to pour his heart out on a borrowed laptop while sitting in the teacher's lounge, then had to scramble to find a more private place. all of it just makes this an insanely funny sequence.

then, of course, baabin's muted rant, which made me YELL because it's once again an apt metaphor for his inability to voice his feelings for fourmod all this time. also the way he immediately edits himself, because if fourmod stays running from his demons then baabin stays NOT SAYING WHAT HE REALLY MEANS OUT LOUD! (well, up until this point.) (Also Also! recalling his excuse to fourmod for all the deleted voice messages in episode 4, if baabin is the type to accidentally mute himself on zoom calls, then of course fourmod would buy that baabin clumsily butt-dialed him from a concert over a dozen times!!! I can't believe this show made me feel things about baabin's technology follies.)

there's also the tension of chian inviting bua in to clear the air, broken immediately because bua appears at first with a filter left over from a previous call and has to hastily change his settings. WHO AMONG US HASN'T!??

and finally, the timing of fourmod coming out of hiding and turning on his camera just to react to bua's bombshell confession... the first time all four have finally come face-to-face. I think it was significant that baabin withheld his true feelings until bua's confession; my read is that he felt he needed to answer bua's honesty with his own, and that at that point he owed everyone the truth—he was the last one to actually voice his true feelings, after all.

so now it's all out in the open, and the four of them must contend with the follow-up, fallout, and feelings to come.

even in zoom, three's a crowd

after bua leaves, baabin and chian declare their intentions to pursue fourmod, leading to a visual standoff before fourmod YET AGAIN yeets himself from the conversation, this time for good. we'd gotten the configuration before, but the context was different—baabin on mute, fourmod hiding his face. but now that everyone's declared themselves openly, the tension is now reflected in that same configuration of thirds, this time captured digitally.

...and even in zoom, fourmod is the king of avoidance

because what is turning one's camera and mic off if not an act of hiding! and what is leaving the chat if not running away!

THIS SHOW MAKES ME SO UNWELL, thank you if you read all of this.

[follows-the-bees]

Changing Channels analysis (cause this episode is so good!)

Let's first talk about Dean and how he relates to TV — and how that also relates to his sexuality!

Near the beginning we see Dean, mouth open, straight on staring at a dramatic medical show. From a character analysis, we see a couple things. Television has shaped so much of Dean's life and how he relates to it and uses it to relate to other people.

Dean uses these tv references to relate to others. But sometimes he tries to hide his viewing habits. During this scene, Dean tries to play off watching the show as a fluke, but even before the facade is lifted later on, he mentions: "I think it's based on a book," this tells us that Dean knows more about this show than he's letting on.

Later on, when Dr. Sexy makes his appearance, Dean is starstruck: blushing, first afraid to look him in the eye. He doesn't seem as fixated on the female doctor, the one notably in the elevator in the first scene. In fact, that character is obsessed with Sam.

It is Dr. Sexy Dean is obsessed with, the one where Dean can't put up the facade, who looks down blushing and sees that his shoes are not his usual sexy cowboy boots. For many people, this is one of the loudest Dean being bi episodes.

Moving on to a slightly related note: Cas

This episode is only a few after Free To Be You and Me and The End. If we take into account Dean and Cas' friendship by the time CC aired, Dean and Cas have become better friends. They worked a case together spending a lot of time together. Then Dean saw Cas in another world follow him to the end — a su*cide mission. And he realizes not only what Cas would do for him but his feelings about Cas may be deeper than he originally thought.

Throughout this entire episode he worries about Cas. He brings up Cas many times, worried about where he is. (At least 3 times it's brought up) And near the end, when they figure out who the trickster really is, one of the first things Dean does is threaten Gabriel to bring Cas back.

Dean was worried about losing Cas. He had to experience it in The End and I don't think he was ready to lose him again.

During the Japanese game show, the host also calls Cas "pretty boy angel" leading to a series of facial expressions on Dean's face. These expressions can be read as Dean realizing that Cas is pretty. Another example of both Dean's bisexuality and his feelings about Cas. Cas is also part of the reason Dean figures out who the trickster really is.

When Cas comes back for the second time and the trickster shows up, the trickster shows his cards. Cas says "if it is the trickster," then Gabe recognizing Castiel, and being so adamant about the apocalypse, Dean figures it out. I love this moment because sometimes SPN capitalizes on making Dean dumb for laughs, but this is a moment of Dean's brilliance. Also notable is that Gabriel is aware of who Castiel is. Castiel was not a worker bee angel, he led a garrison, he was tasked with getting the righteous man out of Hell. Gabriel and Cas are one of the few angels to fall and choose humanity over angels.

Cinematography

I wouldn't be me if I didn't mention the amazing cinematography that SPN can have. Angel fire shots are always so pretty and can cast a sinister light on the subject. This episode goes from a light-hearted sitcom to once of the biggest reveals of the season.

The light wallpaper and bright lights turn into a dark and dreary wet pipe factory matching the tones of the reveal. Sam and Dean were not aware of their roles in the apocalypse fully until this episode. They knew that Dean started the seals and Sam releasing Lucifer, but not about being vessels. Out of a sense of guilt and duty, the boys are trying to stop the apocalypse in their own way. But now they have this heavy weight on them, not only are they vessels but their fate is for one of them to kill the other. Even with this knowledge, Dean says no, they won't kill each other. Their siblingship is strong here even after the short break up of a few episodes here.

While CC starts off as a fun romp, when we look deeper, it is full of great character analysis of the TFW. I love it.

Original post here

[romchat]

Unknown (2024) visual analysis (ep. 1-8): How to film heartache

This show.

The writing and acting continue to be fantastic, but I feel like I haven't seen enough appreciation for Unknown's cinematography, which captures the heartache of Qian and Yuan's changing relationship so beautifully.

Here are some of my favorite moments of visual storytelling so far...

Framing & Composition

Something that I immediately noticed about Unknown is how much dirty framing it uses. "Dirtying the frame" is when a cinematographer uses architecture, nature, objects, or even people in the foreground to add depth to a shot. In earlier episodes, we often see Qian and Yuan framed together by everyday household objects.

These shots emphasize the uniqueness of their relationship: they are brothers because of the domesticity surrounding them and yet at the same time the framing almost tucks them away into a private space of their own. Their relationship is born from yet separate from the familial space they share with Lilli.

So when Yuan drunkenly confesses his feelings and shatters any lies Qian might have been telling himself about their complex relationship, the camera language loses its earlier intimacy.

We suddenly see more medium and long (versus close-up) clean shots where the characters are surrounded by tons of negative space, isolated from each other.

I also don't think it's an accident that we start seeing more dirty frames again once Yuan leaves for America and Qian realizes how much he misses him.

The New Years scene is a perfect example of this. As Qian miserably cheers an absent Yuan, we see the camera subtly pans to the side of the table where he'd usually sit. No one has been able to occupy that private space at home or in Qian's heart.

Visual Parallelism

In a previous post, I've talked about how visual parallelism (when we link characters, events, storylines, etc. through a shared image) can signal major changes in the relationship between two characters, and the show uses this technique in multiple ways. (Yuan’s cheeky and completely satisfying “is there something you want me to do?” in Episode 8’s seatbelt scene, for one.)

But I think the most striking moment is when Yuan asks Qian to confront his own feelings at the end of Episode 8.

When we look at the composition, camera angles, and actor blocking (how the actors are positioned in relation to one another) we can see that the scene directly mirrors the moment that Yuan gifts Qian with cufflinks in Episode 6. In that episode, Yuan is shot from a high angle, making him look even younger and more vulnerable, while Qian cups his face from above, anchoring him as he tries to give misguided advice:

Qian: I actually feel sorry for you. Isn't it tiring to love him? Yuan: It is. It's so tiring to like someone you shouldn't like. Qian: Then what are you doing? Why are you limiting yourself?

It's notable then that during the last scene of Episode 8, the roles are reversed and the blocking and camera language changes accordingly. Throughout Episodes 7-8, we can see the ways Yuan adopts a more mature approach to his interactions with Qian. He has made it clear that he still cares about him but he will only make another move if Qian clearly expresses his desires. Now it's Qian who is the most unsure and vulnerable, with Yuan anchoring him:

Yuan: Wei Qian, don't you like Wei Zhiyuan? If you do, is it only because we're brothers? This thing about us, is it that you don't want it or that you don't dare?

Like Qian had advised him years ago, Yuan now asks why Qian insists on limiting himself by denying what he wants.

Bonus Parallelism:

Both Yuan and Qian's kiss fantasies mirror each other as well.

[the-far-bright-center]

Came across this rather, uh, amusing take in the tags....

The SW Prequels:

Now, I'm not entirely sure what definition of 'female gaze' this post is using (apparently 'close-up shots of hands' is what constitutes female gaze???), but all I could think was... what films were they watching exactly???? But if they are defining it loosely as 'visuals and/or cinematography that appeals to female viewers' or even 'characters and themes that appeal to female viewers'.....then well....

**Note: I fully acknowledge that, purely as an academic term, the entire concept of 'female gaze' is up for debate. There's still a question as to whether or not it is a 'real' phenomenon. That said, I'm addressing its colloquial fandom use in this case.

Let's go through each film, shall we....

The Phantom Menace

Maybe people on tumblr are too young to remember what a splash Queen Amidala made when TPM was first released. Not only was she and her homeworld of Naboo our first real glimpse of the now-iconic 'Space Baroque' vibe of the SW Prequels, but she was also a first for Star Wars in other ways. A teenage girl who was also a mysterious queen of her world, a fearless leader who was backed up and protected by her very own band of loyal handmaidens. And while she was hinted to eventually become the mother of Luke and Leia, at this point in the story, her charcter arc did not revolve around a romance or a male character, but rather was mainly about being the best leader she could be, and helping to free her world and her people. A very fitting story arc for such a young female heroine. All of this was so incredibly formative and appealing to me, as an also fourteen year old girl, when I first watched this movie.

On top of that, Queen Amidala's makeup and fashion styles were extremely trendy and I even went to school wearing her iconic face make up and lipstick at one point. Women and girls wanted to cosplay her, and still do, to this day. There were Queen Amidala dolls with gorgeous dresses that you could collect, whereas before SW merch had been dominated mainly by action figures geared towards boys and adult male collectors. The character in TPM was pretty much tailor-made made to appeal to young female viewers.

And then we get to the male eye-candy in this film....

There was Ewan as young Obi-Wan, of course, who appealed to many, but as for myself, I was head over heels for Liam Neeson as Qui-Gon Jinn.

That long flowing hair and ruggedly handsome face! He was just so calm, strong, and comforting to watch, and he had great chemistry with the actress who played Shmi. So swoony!

2) Attack of the Clones

Moving on to the second film of the Prequels, we come now to the forbidden love story, Padme Amidala's stunning wardrobe, and of course, heartthrob Hayden Christensen as padawan Anakin Skywalker.

Once again, I can only speak for myself as someone who was a young female fan when this film came out in 2002. But I had the AotC teaser poster hanging above my bed and would stare at it dreamily for hours.

And, amusingly enough, one of my first introductions to Hayden Christensen was in an article featuring an interview with Natalie Portman who described him as a 'very sexy guy', lol. So I was introduced to the very idea of him first via the 'PoV' of the actress herself...

The above image is by Annie Liebovitz from a promotional photoshoot for a magazine article about AotC. Note that Padme is wearing a sensual nightrobe but is largely covered up here. It's Anakin who is wearing the low-cut, loose fititng top that shows off his lean torso. His body is the sort that appeals to younger women, not the steroid-induced, muscle-bound hypermasculine nonsense that largely appeals to the stereotypical male gaze.

Before we even go deeper into the romance between Anakin and Padme, there's an establishing shot in the Outlander club scene where Anakin is shown to the be highly-desireable object of many of the patrons' gazes....

Later on in the film, there's some even more obvious eye candy and fanservice to audiences of the time, with the semi-shirtless Anakin writhing suggestively on the bed scene...

And, if it's you're thing, there's also wet Obi-Wan Kenobi....

Certain scenes likewise makes it clear that when it comes to Anakin and Padme in this film... Padme is, uh, 'the one on top', here...

Overall, despite AotC's detractors decrying the 'bad dialogue', in a purely VISUAL sense, this film had a huge focus on romance, romantic scenes and imagery, and romantic moments -- probably the most focus in a SW film since the Han x Leia scenes in ESB. And all with Natalie Portman dressed in a fantastic, scene-stealing wardrobe designed by Trish Biggar that would give even the most lavish period dramas or Old Hollywood productions a run for their money.

3) Revenge of the Sith

Ok, where do I even begin.... we have Obi-Wan and Anakin in all their glory

Then we have gorgeous bittersweet Anakin and Padme reunion moments (note the focus on *Anakin's* face and *Anakin's* sensuous lips here)....

Then the iconic nightmare scene and the romantic moments in Padme's apartment, once again ft. Hayden's bare torso and chest....

And the unbearable heartbreaking moment when Anakin makes his fatal decision, when he and Padme sense each other in the Force and look out towards one each other across the romantic space-fairytale Coruscant cityscape as the sun sets upon the Republic..

Many female fans also seem to fan themselves at the sigh of 'dark side' Anakin/Vader on Mustafar in all his fallen angel fury...

Ultimately, to each their own in terms of what appeals. 'Appealing to female gaze' is very subjective topic, after all. BUT, to say there wasn't 'a single minute of female gaze' in the Star Wars Prequels seems to point to an extremely limited and, well, completely inaccurate 'reading' of those films.

Padme's entire gorgeous wardrobe (which may show skin atimes, but which is NOT always heavily sexualised, but rather focuses on gorgeous embroidery and rich textures and fabrics, etc) and the highly fanservice-y Shirtless Anakin scenes alone demonstrate such a claim is pretty baseless:

[aikawa-kazuki]

gelboys cinematography in ep 5

feel free to check out prev post about ep 3! some scenes were requested by @starryalpacasstuff and @nobitiiiinn

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

while this episode focuses on bua, we still get a lot of glimpses into Fou4Mod x Chian relationship and babbin feelings. the scene in internet cafe lasts a bit over 2 mins and we only get to see that babbin is also with them too only in last 10 or so seconds.

camera has to move to allow babbin into their world and even then he is still alone in the framing.

even when he decides to leave, he is barely visible because chian covers significant amount of framing (something something about how much space chian takes up in 4mod's life, the space that babbin used to occupy).

one thing that GB does and i absolutely love it, is allowing the characters to be full body on screen and taking up little fragment of it. they are dominated by environment around them that is out of their control.

Babbin would go unnoticeable, yet another teen sitting on staircase despite the beanbags available, we all had seen or been there but he exists in a series and the staircase leads our eyes into him.

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

early into the ep we get to see bua outside of social media and making tiktoks with chian. the camera it's not in usual field of view, it's zoomed in creating really specific looks that aren't often seen in films let alone dramas (top of my head i can think of intro to kdrama D.P.). Because of said camera zoom the scene looks dreamy, slightly off.

the staircase is usually full of people, it's inside of siamscape and it's basically a mall from what i checked out quickly.

bua is not in typical composition framing, he is slightly off what would rule of 3rds suggest (same with his shoes) an this is what creates the slightly off energy in this scene.

would you look at that another scene with bua and sianscape stairs:

here he is even smaller part of the screen. emptiness of the place is overwhelming, further emphasising his loneliness. in opposition to babbin scene on different staircase, here the lines don't lead us to bua but to babbin who came to comfort him (the parallels, no one came to him but he does go out look for bua).

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

scenes with bua's moms really hit the nail to coffin with how abandoned bua feels. he tries to do a tik tok with one of his moms. we are yet to be informed of existence another mom. there is quite a lot happening in the scene visually, so the other mom literally is just a background character, even in bua's life, despite (as we soon learn) her being main parent since they are divorced.

she crashes into only thing he seems to be enjoying and it leads to yet another fight. sheer lack of emotions on bua's face lets us know it's not the first time it happened.

during the fight we get to see such smart use of rule of thirds. we start of with jaded and slouched bua, crosspoint gives us focus on bua's eyes. composition also leaves space for his moms' argument, it's part of his life whether he wants it or not.

after that the scene is filled with bua's face, fitting beatifully into the composition boxes and cross point gives us important focus on his eye. which moment later becomes clear why.

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

another scene we get with bua and his mom is this one

once again she is secondary character. he tries to get her attention but even the bar guests give him more eye contact than her.

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

last scene of the post, i admit i had to educate myself a bit but here it is, the silliest scene in whole ep, the big stack of meat:

what we have here is called the pyramid composition, altho a classic concept in academia paintings, here it is used rather untypically.

usually the scene would be written into the pyramid composition like here:

(Rembrandt van Rijn, Storm on the Sea of Galilee)

the pyramid composition is used to avoid stagnant, one for each eye type of composition (composition where two similar object exist on same or similar plane). if we were to imagine this scene without the comically large meat stack, we would have an alright scene, properly set in rule of thirds.

but since the triangular meat is in the middle, acting as a foreground, we gain dynamic lines and keeps our eyes moving around and not just ping pong between boys.

or p'boss was feeling very silly that day and saw opportunity of big stack of meat between boys and went with it :P

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

thank you for reading this far! it took me few hours to write so i hope you guys enjoy it and find something new to love about this series!

[calling4glaives]

Tracking Nyx's Kukris - Part 2

[[Cropped from the wiki]]

If you missed it, here's Part 1.

Okay, we’re back, this time looking at Nyx in the second half of the movie and how he uses his kukris. Since he has his kukris the whole time from here on out, the focus is more about his fighting style than worldbuilding of when and how he’s allowed to use them, but we still thought it might be interesting!

As before, descriptions are in the alt text, and sources should be below the image - likely the wiki, @capsource, or @starjunco. All gifs are courtesy of @starjunco.

As the glaives warp onto the airships, Nyx has the Galahdan kukri in hand and uses that single blade over and over during the warps rather than switching between the two.

[[You can see here why that's useful]]

When he reports in to Drautos, he doesn’t bother with the juggling act from the first scene, and just keeps hold of the kukri as he taps his earpiece with the same hand. Shortly thereafter, Luche uses the same gesture with his own weapon in hand. 

[[From @starjunco]]

Nyx infiltrates the airship with weapons sheathed, keeping his focus on balance and stealth.

As he realizes the whole thing is a trap and starts running to Pelna and Luna, he reaches down and draws his Galahdan kukri from his leg sheath with his right hand and then flat out sprints with it in hand. By the time he reaches them, he’s switched the kukri to his left hand, which leaves his right hand free to pull Luna back after an octopus-like arm grabs Pelna (though Nyx does nothing to attack Ultros with either).

[[Just resign yourself to most things being blurry from here on out as Nyx is moving fast and often other things are in focus. This is the best I could get and required me to watch Pelna die several times which is cruel and unusual.]]

We next catch up with Nyx as the Wall falls, and Nyx and Luna stare out the airship window. Nyx has his weapons sheathed again, so when the first traitor approaches, Nyx takes him out by snapping his neck with his bare hands.

The glaive Sonitus stabbed sends a fireball down what appears to be the engine in the airship he's on, which slams the whole ship into the one Nyx is on and spins it vertical as it takes out what appears to be important equipment. Nyx scrambles for his balance, which makes his empty hands a stroke of good luck. It’s impressive how well the kukris stay sheathed even with all the jostling, climbing, and odd angles.

(NB: As the signing ceremony devolves into chaos, all the Lucian nobility pull swords out of nowhere, but only Clarus and Regis form (equally perfect) magical shields, and thus survive. I point this out as further proof that being able to summon a weapon appears to be an ability independent of Regis' magic, and thus gives interesting context to when people appear to be unarmed vs actually are, and the Glaives' use of sheathes)

Ultros Fight

But Nyx's luck is fickle, so even as they climb a traitor comes after them and tackles Nyx off the catwalk. As they grapple in midair and the traitor tries to stab Nyx, Ultros grabs the traitor and Luna both.

As Nyx continues to fall, he uses his left hand to draw his Insomnian Kukri (the first time we see him use it himself) and throws it to warp to “safety”. As a point of interest, he throws it using his left and catches it with his right. This could be because Nyx is right handed (we mainly see him use and especially catch a blade with his right hand) or just for the cinematography and continuity because the camera switches sides, and so the left hand that threw and the right hand that catch both end up on the “far side” from the camera’s perspective.

Sometime while we were paying attention to what was happening to other people, Nyx sheathed his blade again, which is once again a good thing because when the ship starts breaking apart further he has his hands free to dodge the debris coming down and to catch himself on the railing.

He doesn’t bother to draw either kukri as he studies Ultros and watches several glaives fall past him to their deaths and sees how the creature reacts.

Eventually he reaches down into his leg sheath and draws the Galahdan kukri and lets go of the railing to fall down toward Ultros and Luna.

He throws the Galahdan kukri with his right hand into the arm holding Luna and catches it with his right hand. He’ll then dangle from that grip for about half a minute and through some very crazy gyrations, which is a very impressive feat of strength, especially since he's already been hanging one-handed from the railing for a decent chunk of time.

As he hangs, he uses his left hand to form fireballs, throwing one that misses Ultros and hits the engines again, and then another that hits true as Ultros flails.

Luna is released and Nyx follows, warping after her even though his kukri literally bounces off some debris that falls between them. Nyx catches it running (perhaps with his left hand, but only perhaps, because) then his hands are magically free to catch both Luna and the rail again. We know he didn’t just drop it because it’s in its sheath three seconds later, so perhaps he just sheathed it very quickly during the lens flare from the warp.

[[The first picture is horrible but it shows you the bouncing Galahdan kukri enough to identify it. The second picture of Nyx with his hands full is lovely and crisp because it's from @capsource]]

Then we check in with what else is going on in Insomnia, then back to our intrepid duo trying to escape the crashing ship. Ultros whales on Nyx for several blows, but his kukri-less hands allow him to keep up a fragile but adequate shield until the catwalk they're on shifts further away from Ultros and into the sunlight.

[[Thanks again, @capsource!]]

Luche conveniently arrives with a dropship and is immediately knocked aside by Ultros. Luna climbs to the now empty dropship, and Nyx draws the Galahdan kukri with his right hand to warp after her. The kukri again bounces off the floor of the dropship, but Nyx literally rolls with it and finds his feet immediately. His hands are again free as he yanks Luna out of the pilot’s chair, but then he presumably has to sit on the back sheath, which seems frankly uncomfortable. Minor in the grand scheme of things, but still not fun.

[[Interesting to see how the blade itself (clearly the Galahdan kukri from this shot) turns the blue of a warp before Nyx even arrives.]]

(Fun side note - Ultros literally steams every time it's in the sunlight. It happens when Nyx knocks it back with a fireball and here as it tries to drag the dropship back into the nice dark airship)

When it comes time to exit the airship (again by warping), Nyx again draws the Galahdan kukri with his right hand, then throws it with an awkward sort of backwards grip as he leaps out of the ship. He seems to materialize right as he makes contact with Luna, and his momentum pushes them forward. Nyx is definitely more on fire than usual as he lands - perhaps the result of coming out of the warp early or of carrying the momentum of two people? Oddly enough, though he threw with his right hand, his left hand seems to be burning a hotter blue. 

Maybe it's foreshadowing for the ring.

Glauca Fight - Part 1

Luna and Nyx run into the signing room through the double doors rather than the balcony, which makes me wonder how long they had to run around the interior of the Citadel to get here.

Nyx warps in and fights Glauca with his Galahdan kukri in his right hand. He is tossed away, then roars angrily and continues to increase his multitasking ability as he sends off a burst of lightning from his right hand for once, casting around the kukri. The spell seems to have a recoil, perhaps as a result of his quick casting or of the kukri.

[[gif and still of angry Nyx both courtesy of @starjunco. I included the still because of how you can see the lightning as he casts.]]

He then draws the Insomnian kukri with his left hand, throwing it at Glauca even as the sparks from his lightning spell dissipate, but Glauca deflects the literally low attack despite the distraction and surprising angle.

Before the first kukri hits the ground, Nyx immediately follows it up with the Galahdan kukri, which he warps to, landing feet first on Glauca’s chest and then sort of kicking back into a handstand then a roll. He picks up the Insomnian kukri after comes out of the roll, then stands up with both in hand as he moves into the next combo.

[[watch carefully - the gif has both attacks. I could not get a clean shot of the roundoff, roll, and kukri recovery but it all happens clearly if you watch at .25 speed, I promise.]]

As soon as he gains his feet, Nyx throws what seems to be the Galahdan kukri high into the air and warps above Glauca, catching it with what might be his left hand, then uses both kukris to attack Glauca many times, each attack deflected by Glauca’s gauntlet or sword.

He continues to just blitz without much finesse, attacking left then right then left than right with a reverse grip on each kukri that keeps him close to Glauca. Perhaps he’s trying to be more of a distraction here than actually attack, to keep eyes off of where Luna is helping Regis to the elevator behind Glauca.

After several seconds of that, Nyx throws the Galahdan kukri high up in the air for a change of pace, but Glauca catches it (rude) by the blade, and as Nyx catches the other end Glauca uses it to throw him down. Nyx struggles to rise, but luckily Glauca doesn’t attack him immediately.

[[That's just rude.]]

Both of these beats - Glauca knowing Nyx's style enough to catch the blade and his hesitation to finish Nyx off - are, in retrospect, hints about Glauca's identity.

Before Glacua can actually commit to an attack, Regis sends a massive lightning blast at Glauca, pushing him clear of Nyx. Nyx takes full advantage, scrambling to his feet and heaving the Galahdan kukri with his right hand in an underarm pitch. Nyx lands standing and runs one more step to back of elevator, then crouches as the flames burn out.

[[This is a great indication of how Nyx often just chucks his kukris with more strength than finesse, which honestly makes sense for warping, especially here - you want to get as far as you can]]

After Nyx finishes steaming and panting a few more breaths, he sheathes both kukris to talk to Regis about what has happened and will happen next.

When they elevator reaches its destination, Nyx leads the way through the escape path with both kukris still sheathed, and he keeps them tucked away through Regis’ death and getting Luna to the car (where he once again has to sit on the blades. Ouch.)

As they try to escape, Nyx throws the Insomnia kukri at Tredd, in an insane throw through girders between them and as both the dropship and car are moving under other people’s control, still managing to embed it deep into the metal of the ship.

[[Dang, Nyx. That went like 10 cm/3" into solid metal.]]

Since he cannot warp to it, he then loses it until Libertus picks it up when he later stumbles upon the wreckage of the dropship and the bodies of the traitor glaives.

We might do a part III where we trace the kukris through the final battle after Nyx puts on the ring, but for now we’ll leave you with a quick summary of their journey, which is generally more familiar to us all: Libertus hangs on to the Insomnian kukri and then offers it back to Nyx when they reunite. Nyx tells him to keep it since Libertus is otherwise unarmed, and then Libertus stabs Glauca with it when Glauca comes after Luna in the car. It stays in Glauca’s shoulder, and then Nyx sees it and warps to it at the end of their fight.

But I think this post is long enough for now.

[girl4music]

Dude I don’t think I’ve ever seen this picture before.

Wow. So beautiful. So natural. So authentic.

This is that moment where Gabrielle is so delirious in her hypothermia that she thinks she’s talking to Hope and Xena grabs her hand as it comes up to her face and kisses the back of it, trying to reassure her she’s there and doing her best to warm her up when in cold water.

But I’ve never seen a still shot of that moment before.

Once again, I feel like every still shot I see of them together could be the front cover of a romance novel or like a renaissance (no jokes) painting or something.

And almost everything in Season 6 looks that way. They definitely made a choice after the fuck up of Season 5.

Such epic imagery and cinematography in Season 6.

Whereas the rest of the show they’re actively trying to avoid it looking so gay that it just ends up looking even gayer, in Season 6 they have scenes that aren’t even meant to be gay at all, but somehow just ends up gay because they’re left to their own devices this time. No censorship. Or rather - no censorship that they don’t agree with and apply themselves. Which is different because that’s less “queer censorship” and more “don’t pander to the queers” because that can be insulting. When Lucy and Renee took the reins in their portrayal of Xena and Gabrielle’s intimacy, they were very clear on what they wanted and more so what they didn’t want. They didn’t want people to look at the characters and say “they’re gay”. They wanted them to say “they’re in love”. They didn’t want there to be any real distinction between what intimacy between men and women was.

It seems silly to think that way now given how accepted love or romance between women is. But back then - it was important that people saw there was no difference.

That it was just love or romance either way. That’s what you see in these still shots - these moments in scenes. It’s Lucy and Renee making an informed decision to not portray intimacy in a pandering way. I love them for it.

You look at a still shot like this and you just see the love.

Point blank. Simple as that. You decide what else it is.

They’ll be people that disagree on the nature of it. Some will think “romantic”. Some will think “platonic”.

But I think the one thing that will be unanimously agreed on by everyone that ever sees this scene.

There is a deep authentic all-encompassing love there. I bypass everything else because that’s what I’m here for.

That’s what I’ll always be here for.

What I see in this still shot of them.