#perfect silhouette shots in the final scene

[lynxgriffin]

Eldritchrune - Dreemurr of Sacrifice

1 | 2 | 3

Story Setup Eldritchrune Masterpost

Back in the light world, Asgore is still dealing with the heartache of the sacrifice, even months later. Mayor Holiday is still set on moving ahead, though!

Yay, it's nice to finally get back to some light world characters here! More with the Dreemurr family will be coming along soon!

Alt text for these pages under the read more:

Page 1 Panel 1: a landscape shot of the Holiday house and surrounding garden, with Rudy and Asgore outside the fence and hollybush hedge. The Delta Rune is emblazoned over the door and spiky snowflakes decorate the roof and fence.  Asgore is walking by with a wheelbarrow. Rudy: “Asgore, you old goat! Been way too long!” 

Panel 2: A closer shot of the two men- Rudy is slim and dressed in a crisp tunic, Asgore larger and wearing slouchy overalls. Asgore: “Howdy Rudy. You’re looking well!” Rudy, hand on his knee, bends over to hack and cough. Rudy: “Oh y’know… well enough, I guess! How’s business?” 

Panel 3: Asgore looks down,ruefully scratching the back of his head. His wheelbarrow is full of droopy plants, ready for planting. “Could be better… Those soldiers hassle me almost daily. But, I’ve gotten used to it, so it’s all right.” 

Panel 4: Rudy puts a comforting hand on Asgore’s shoulder. “Aww hey, you can complain to me any time…” he says. Asgore doesn’t avoid the touch but he doesn’t seem comforted. 

Page 2 Panel 1: close up on Rudy, who jerks his head to look as far behind him the door of the Holiday house opens to show the silhouette of a woman in a long dress. 

Panel 2: Rudy: “But uhh, I’ll let Carol here say her piece first. See you, Asgore!” He waves and pushes the gate open to go back to the house. Asgore looks taken aback. 

Panel 3: A textless landscape shot of the front of the yard. Rudy, halfway back to the house, turns to look behind him as Carol comes out of the large Holiday gate to meet Asgore, who is hunched in a half-bow with his hand over his heart. 

Panel 4: Asgore: “Howdy, Mayor Holiday.” He doesn’t look up at her, and we see only the back of her head, not her face. Carol: “Good day, Asgore. I appreciate you stopping by, as I wanted to inform you personally.” 

Panel 5: Carol leans into Asgore’s space, and he leans away, cowed. Neither of their eyes are visible, but we see their mouths: hers stern, his distressed. Carol: “We will be conducting the Ritual again in three month’s time, at the harvest moon. You and Toriel’s presence is required.”

Panel 6: Bust shot of Asgore, dismayed. “A…Again? You’ve… found another one?” His hand is still protectively over his heart. 

Page 3:  Panel 1: We see Carol’s face for the first time: she is severe looking, with medium length hair, a stiff dress, and a choker necklace and ornate belt. Her hand is also over her heart, though more like a formal salute. “I have tasked QC with obtaining the child.” 

Panel 2: Carol’s speech bubble continues as narration. “She’s been quite diligent in her duties, and believes we now have one open to the concept of self sacrifice.” The scene shown is QC- a friendly, soft woman with wildly curly hair- appearing to be at a street market. She is speaking to a child with a bandana neck scarf (Clover, from UT Yellow), but there’s no dialogue. 

Panel 3: Another shot of Carol in profile, gaze fixed intensely ahead. “With the Ritual rites already perfected, this time we will be successful.” 

Panel 4: A wide shot of Asgore, hunched over his wheelbarrow of wilty plant starts and flowers. There’s no dialogue. His expression is despondent. 

Panel 5: Carol: “Is there something you’re withholding, Asgore?” Asgore: “No. We’ll be there.” We don’t see his expression. Her hands are folded sternly in front of her. 

Panel 6: She moves once again into his space, pushing past the wheelbarrow to lean in. “I know that you two have been avoiding us in public since the last Ritual.”  Asgore cringes away like a dog that’s been scolded. 

Page 4: Panel 1: Carol continues. “Toriel has hardly spoken a word to me since then. I trust there is an explanation?” 

Panel 2: Asgore wrings his hands in front of him. His speech bubble covers up his eyes, but his mouth is downturned. “Carol… Toriel avoids you so much because she respects you. She does not want a confrontation.”

Panel 3: Carol, her expression still severe, almost angry. “A confrontation?” 

Panel 4: Asgore, still cringing and looking down: “I don’t know.. if I can explain just how badly losing Kris hurt.” 

Panel 5: His narration continues from the previous panel. “She’d be so cross if I knew I said this, but…” We see the past, Toriel kneeling and clutching the blankets of an empty bed, crying hard. Asgore kneels beside her, holding her shoulders. He’s crying too, unable to comfort her. “The night of the sacrifice, when we got home… Toriel collapsed and wept so long and hard I was afraid her heart would simply stop.” 

Panel 6: Sill the past with present Asgore’s narration over the top. “And then, once Asriel left too… Both of our children were gone.” Left to right, in the interior of the Dreemur’s house, Asgore stands dismayed as an unhappy Toriel rushes after Asriel, who is walking out the door with a bag on his shoulder. He’s looking back but is clearly set on leaving. 

Page 5 Panel 1: Back in the present, Asgore is even more hunched in on himself, hugging his fists to his chest with his expression drawn tight and sad. “I know Toriel acts as though she is fine, but that’s simply because she is stronger than I am. The tension between us is so terrible that I’m afraid she’d leave me if she had somewhere to go!” 

Panel 2: Close on his distressed, panicky face, looking away from the confrontation. “And part of me can’t help wondering… w-what if we were…”

Panel 3: Carol jabs a finger in Asgore’s face. “We. WILL. Be rewarded for our sacrifices. Of this I am CERTAIN.” She’s stern, but her fists aren’t clenched- she’s controlled. Asgore shrinks under her words, looking up at her as he stammers “I-I know, but…”

Panel 4: Carol’s speech: “You talk of heartache. Kris was not even your child by blood.” Asgore looks down, ashamed. 

Panel 5: Carol continues, hand splayed over her chest. For the first time her expression is something other than stern, perhaps angry- still that, but pained. “Do you think your pain is greater than the one I feel, for December? Whom I gave away first?” 

Panel 6: Asgore plucks at his sleeve, looking away guiltily. “No, of course not-” 

Page 6 Panel 1: Carol’s brief moment of any other emotion is gone. She sweeps her arm to the side. “And yet I have put aside my grief for years, all for the sake of you, and everyone else, in this town. I will do whatever it takes to drive this invader from our doors, and restore this town to the peace it once had.” 

Panel 2: Carol’s face is almost a snarl. “All I require is that you, my oldest friends, trust me.” Asgore looks abashed. 

Panel 3: Close on Asgore’s downturned mouth, so none of the rest of his expression is visible. “Of course. Of course we do.” 

Panel 4: Carol draws away, her face returned to calm sternness. “That’s good to hear. Our children don’t need our tears.” 

Panel 5: Carol turns to go back into her gate, dismissing Asgore with a wave. “But our town does need our efforts.”  Asgore watches her go, putting his hands back to his wheelbarrow. 

Page 7 Panel 1: Another wide shot of the Holiday house and gardens, with Carol walking back to the house and Asgore outside the gate. Carol: “So I’ll see you both at the next gathering.” 

Panel 2: Asgore looks down at his wheelbarrow, despondently. His plants are all notably wilted. “Good day, Mayor.” The sky behind him darkens. 

[magics-neptunes-things]

Turmeric or Turmeric? (Prompt)

Hi guys!

You can find the request for this one here :) And the prompt here too!

For the context, it was from a TikTok Mary Earps posted a few weeks ago. Mary, Maya and Alessia were supposed to drink an awful thing with turmeric, pepper and others horrible ingredients.

Enjoy!

TW : None, pur fluff.

______________________________________________________________

"We are the hot shot threesome" Mary says happily before getting up to cut the camera on her phone, finishing her TikTok.

"I need some lip balm" Maya says before starting to look for it in her bag.

Alessia, on her side, falls on the bed with a moan of discomfort. Unlike Mary who seems to have enjoyed the content of the "shot" and Maya who drank it in one shot, she had more difficulty drinking it in its entirety. And did it only under the insistence of her teammates, not to kill the fun.

"Is she dead?" Mary asks Maya, laughing.

Smiling softly, Maya leans towards the blonde to pinch her ribs, making her growl while pushing her hand back.

"No, she looks okay" Maya laughs softly

Still with a grimace on her face, Alessia sits back on the bed to grab the bottle of tea and drink new long sips, hoping to pass the horrible taste that remains in her mouth.

"It was awful" says Alessia with a grimace before finally getting up

"It was really not good" confirms Maya, drinking too from the bottle.

"You are babies. I liked it" Mary says

Alessia smiles softly shaking her head. Heading towards the door, she is about to greet her friends when Mary jump from the bed in her turn.

"Where are you going?"

"Find Y/N. Why, you have another horrible challenge to offer me?" teases Alessia.

"No, but I have a better idea" Mary replies with a huge smile that really doesn't announce anything good.

********

"Mary there is no way in the world that I'm doing that to my girlfriend" Alessia frown.

"Come oooon, it could be fun!"

Alessia turns to Maya hoping to get some help, but she just smiles and shrugs. She understands Alessia’s reluctance but on the other hand she cannot help but find Mary’s idea rather amusing.

"Come on Less, all you have to do is find Y/N and kiss her so we can see her reaction"

"But I didn’t even wash my teeth" Alessia whines

"That’s the point" smiled Mary

"She’ll never want to kiss me again after that"

"Oh I wouldn’t worry about that if I were you" laughs Maya gently. "Y/N has been crazy about you for years, long before you opened your eyes to the nature of your respective feelings."

Alessia groan for any answer. Maya is right and she knows it, you have developed a crush for her for years, maybe even since the first time you saw her. But until a year ago, when Alessia’s behavior towards you changed, you were content to live one-way feelings, dating around, hoping to get over the feelings you had for Alessia. It never worked out.

Seeing that Alessia begins to hesitate, Mary leads the attacker into the common room where you are. Sitting on a stool and leaning at the coffee bar, you are in full discussion with Esme when the trio arrives at the entrance of the room.

"But she’s busy! She’s talking to Esme, I don't want to interrupt" Alessia tries, hoping to escape what she was asked.

"For God’s sake, Alessia, go kiss your girlfriend"

Alessia sighs gently and shakes her head before shyly entering the room. Satisfied, Mary grabs her phone to film the scene. She can thus have a perfect vision of Alessia’s hesitant steps in your direction.

For your part, you end up spotting the silhouette of your girlfriend who approaches you. You address her a big smile while still talking to Esme.

Before you really understand what is happening, Alessia finally arrives next to you and positions herself between Esme and you who are face to face on your respective stools. Even sitting, thanks to your seat, your face is almost the same height as Alessia's who is standing.

Alessia gently grabs your face by taking it in her hands and gently raises your chin before putting a kiss on your lips. You blow your nose under surprise, usually you don’t kiss in public. Unlike hugs or gestures of affection, it's not uncommon to see Alessia’s arms around your waist or to see you sleep on the shoulder of the blonde during your trips or movie nights.

Your arm passed around her waist, you look for Alessia's eyes after your kiss that lasts a few seconds and you prepare to question her before frowning. Her lips taste strange, far from the sweet taste they usually have.

"Did you eat something special?" you ask your girlfriend curiously.

But Alessia doesn't have time to answer that Mary’s laughter is heard. Maya appears smiling behind her and both of them approach you, drawing the attention of the other girls in the room.

"What’s going on?" you ask, a little lost.

Alessia informed you that she was going to do a TikTok with Mary and Maya, without really telling you what it was. When Mary throws you one of the bottles they drank and you catch it easily with your free hand.

"Hot shot threesome" Maya grins as you read the ingredients on the bottle with a grimace.

"I’m sorry Baby, they made me do it" Alessia plead, turning a little bit to look at Mary and Maya.

Mary snorts while you look up at Alessia with a little smile. She seems worried about your reaction, which really doesn’t matter. You’re pretty calm by nature, Esme is your best friend and it’s not for nothing.

"Don’t worry" you smile affectionately at her before gently kissing her cheek.

Alessia hums as she tightens against you, briefly pressing her temple against your forehead. You take the opportunity to deposit a new kiss, on the corner of her jaw this time.

You don’t really listen when Mary, Maya and Esme start talking about the drink and spicy food they’ve eaten so far. Alessia sometimes gets involved in the discussion as well. But you, you just watch your girlfriend. You’re obsessed with the blue of her eyes and the different features of her face. You feel your expression soften when she laughs and you pass your second arm around her waist after a few minutes.

It draws Alessia’s attention to look and smile at you, gently kissing your forehead.

God, you are so in love.

When Alessia shifts her attention back to the conversation, you listen to them with a distracted ear. You aren't surprised when Ella comes to mingle in the conversation, but you quickly turn away to admire Alessia. After so many years of trying to reason yourself about your feelings for her, you still can’t believe you can finally consider her "yours".

Unable to resist, you put your lips on her cheek again. Then you slide your lips all the way up to her jaw to finish in the hollow of her neck. You feel Alessia shivering, you know how sensitive she is here. Her hair is loose so no one can see what you just did, but Alessia is giving you a warning look.

"Sorry" you whisper softly before kissing her shoulder this time.

"Not here" whispers Alessia in return, forgetting in turn your teammates. "You can have all the kisses you want when we get back to the room"

"Mh… after you brush your teeth then. You taste weird" you smile maliciously.

"Don't talk about it… I didn’t want to finish, they forced me" Alessia pouts, very aware that she just drew Mary and Maya’s attention to you.

"Oh, really?" you coos, kissing your girlfriend’s cheek again.

"Yes, they were very mean"

"My poor little love" you laugh softly, gently tightening Alessia in your arms.

"You’re so dramatic" Mary sighs.

But Alessia gives her an ironic smile as you continue to hold her protectively against you. The blonde even lets herself go a little against you, standing impossibly close to you. Mary rolls her eyes and throws a ball napkin in your direction.

"Can't you stop two seconds from reminding others how single they are for god's sake?"

[stcpidcupid]

in  april,  the  pre-release  single  MANIAC  set  the  stage  for  STUPID  CUPID's  highly  anticipated  mini  album.  the  company  teased  the  comeback  with  a  brief  snippet  of  the  song,  reassuring  fans  that  all  members  were  in  top  form  and  ready  to  deliver  a  flawless  performance.  over  the  course  of  four  weeks,  the  song  was  promoted  extensively,  building  excitement  for  the  upcoming  album  release.

MANIAC  was  produced  entirely  by  H.EUI,  also  known  as  MIGHTY  DEVIL's  HERO.  its  release  was  met  with  great  enthusiasm,  quickly  accumulating  millions  of  views  and  garnering  widespread  acclaim.  despite  facing  tough  competition,  the  song  managed  to  secure  four  wins  during  its  promotional  period,  maintaining  the  group's  strong  track  record.  while  it  fell  short  of  surpassing  their  previous  pre-released  single,  which  accumulated  eight  music  show  wins  in  total,  MANIAC  nonetheless  solidified  the group's  position  as  a  powerhouse  in  the  industry.

tracklist.

MANIAC ⠀⠀⠀⠀⠀ — ( written by H.EUI, prod. by H.EUI )

the music video analysis.

the  music  video  opens  with  a  dark,  atmospheric  scene  where  shadows  dance  against  a  backdrop  of  flickering  candlelight.  we  then  see  the  members  of  STUPID  CUPID,  each  embodying  a  different  facet  of  obsession,  surrounded  by  lavish  surroundings.

as  the  music  begins,  the  scene  transitions  to  a  house surrounded by vines,  where  the  members  are  depicted  in  various  scenarios  that  illustrate  different  forms  of  obsession.  one  member,  JEANNE,  is  seen  meticulously  arranging  photographs  of  her  love  interest,  while  another  —VIVA—  stares  longingly  at  a  locked  door,  symbolising  the  desire  to  possess  what  lies  beyond.  TOMIE  is  shown  lost  in  a  reverie,  surrounded  by  scattered  photographs  and  mementoes  of  her  love  interest.  her  gaze  is  distant  and  unfocused  as  she  retreats  further  into  her  own  world,  oblivious  to  the  outside  surroundings. 

in  CHESKA's  scene,  she's  shown  in  a  dimly  lit  room  adorned  with  flickering  candles  and  scattered  with  handwritten  notes  and  crumpled  papers.  she's  shown  engaging  in  repetitive  rituals,  such  as  writing  love  letters  or  composing  messages  on  her  phone,  only  to  delete  them  and  start  over  again  in  a  desperate  quest  for  perfection. 

AIMEE's  seems  to  be  the  most  heartbreaking  one,  as  broken  objects  are  scattered  around  her  room.  these  represent  the  aftermath  of  a  heated  argument,  with  shadows  cast  against  the  walls  mimicking  the  silhouette  of  a  looming  rival.  most  of  the  broken  things  are  on  the  other  side  of  the  room,  signalling  that  it  was  she  who  started  the  fight. 

interwoven  with  these  scenes  are  shots  of  the  group  performing  the  song  in  a  dimly  lit  room,  their  intense  gazes  and  dynamic  choreography  adding  to  the  sense  of  urgency  and  desire.

as  the  song  reaches  its  climax,  the  scenes  escalate  in  intensity,  with  flashes  of  the  members  obsessively  counting  down  the  moments  until  they  can  be  reunited  with  their  object  of  desire.  the  house  becomes  a  maze  of  mirrors,  reflecting  their  fragmented  psyche  and  inner  turmoil.

finally,  as  the  music  fades  out,  we  see  the  members  standing  in  front of the house,  their  expressions  a  mix  of  longing  and  determination.  the  camera  pans  out,  revealing  it's  engulfed  in  flames,  a  visual  representation  of  the  destructive  power  of  obsession.

the  music  video  shows  a  lingering  shot  of  the  house  burning  against  the  night  sky,  leaving  viewers  with  a  sense  of  unease  and  the  haunting  melody  of  MANIAC  echoing  in  their  minds. the last couple of seconds of the music video is silent, with the sound of fire slightly heard in the background, when suddenly a melodic whistle is heard before the scene shows members turning around when the video cuts off.

[foxes-that-run]

OH. MY. GOD.

I was watching fortnight mv and noticed something😭

In the typewriter scene posty is wearing a ring in his ring finger. Then the next scene the style silhouette scene posty without tattoo is not wearing any ring. Then the next scene where they are torturing her/trying to fix her, posty is wearing a ring in the same finger Harry wears the haylor ring. But no ring in ring finger. Then in the telephone scene he's again wearing a ring in his ring finger and Taylor is wearing the haylor ring.

I shared my theory about this song and mv with you before and this new clue makes me believe in it more. The wife she talks about is Olivia. The ring in the beginning indicates Harry being with Olivia (not literally engaged but engaged as in together). They were talking when he was still with Olivia and she was surviving with Joe. The tattooless posty is Joe I believe, this scene I thought was her dreaming of a life with harry but this may also be her revisiting the life she had with Joe and talking about it with harry. Like how they were happy and then they wer not, how they had a happy-in-love expression on their face then it turned into sad expressions, how she reached her hand out but it cut to the next scene before he could take it. This is perfect summary of her relationship with Joe but the style silhouette tells me that harry was always in the back of her mind OR it might be in the beginning of Toe when Harry's memory was still fresh in her mind.

So they were both typing meaning they were either talking about eachother or writing songs about, i think it's both. Because they talked and then they wrote songs about what they talked about. Harry has plenty songs about her being lonely in HH. Makes sense that the pink and blue colours led them to those tattooless posty scene meaning revision of Toe relationship.

Next the torture scene where posty wears a haylor ring maybe? This scene to me was Harry dragging her out of the mess in May, he wasn't seeing anyone at that time. So there's no ring in ring finger. So the ring he wears in his index finger might be seen as a haylor ring.

The next scene where she's wearing that black victorian type dress throwing papers and all, to me it's after he left her again in (after saving her from torture, reference to down bad). Then when he calls he again has a ring in ring finger, he's involved with someone else again. So it could mean it's after TR came into the picture. Taylor is wearing the haylor ring so I'd assume it was when she still was looking forward to him returning.

There's so many things. I'm gonna have to watch it again n again

Wow thanks for this ask anon, I spent a bit of time gathering shots of the rings then looking at Harry's. And yes there are three combinations of Post:

Tattoos with rings on his wedding and right index fingers, in the typewriter and phone booth, also where Taylor has Haylor ring

No tattoos or rings in the road scenes

Tattoo scientist has a ring on their right index,you don't see his wedding ring and he has glasses.

This aligns with the prologue having three muses also.

Post has two rings in the typewriter scene, his right ring (wedding finger) and left index. Also a ring on his right ring in the phonebooth where Taylor wears the Haylor Ring.

Right index for the scientist - but the wedding finger is hidden

No rings in the Style head and tattoo less scenes

So 3 or 4 muses:

No tattoos, turtleneck, no rings on road

Tattoos, Fancy black suit, 2 rings with typewriters

Tattoos, glasses, one ring, scientist coat

And the final, tattoos and 2 rings, has a necklace when he steps out of the phone booth post could be #2 or a 4th post.

Harry wore the Haylor Ring on either index finger intermittently 2014-2019. The last time we saw it was 2019 Gucci Campaign where it was on his right index finger. (this ran the week before Ed's wedding)

It's not the only ring that may be about Taylor though. He wore the Peace Ring on his left middle finger from (when he and Taylor had a break in LA coincidentally on April 21 - 24) 2013 - 2020. It was on the left middle finger for 6 years, but it switched to the right middle finger in 2020 and only appears occasionally since, but that included his MSG residency when he and Taylor were both in NY and at TIFF.

I re-read my post on it Peace Ring and noticed the dates Harry wore it again after he stopped includes the anniversary of Ed's wedding. (yesterday's ask about it) At the time I thought maybe it was something earlier... but that's when he was 25.. so hmm I might do a post on that ring's reappearance.

[tallmadgeandtea]

Hi! SS&SP Chapter 11 is finally finished! With a shit ton of editing and little time to do it, of course, but here’s a snippet from a fun future scene where Lizzie and the boys get into shooting shenanigans, and Benjamin… well… you’ll see:

“You should demonstrate your special move, Bennyboy.” Caleb Brewster said, his mouth curled in a sly grin. He moved the pistol between his hands as if it were a plaything, wooden and ineffective, the bullet a ball tied to a string.

Elizabeth redirected her attention back to Benjamin. “Oh?”

He glanced downward, “I don’t think that’s necessary, Caleb. Would be a waste of bullets.”

“What are you referring to, Mr. Brewster-”

“Eh, Lizzie, what did I say?”

“Caleb.”

“I once saw him shoot a man while flying on his horse like a devil outta hell.” Caleb replied. “Quite a sight to see if you ask me.”

“She didn’t,” Benjamin said curtly.

The rest of the group’s interest piqued, the conversation lulled, nonverbal deliberation hanging in the air with the gunsmoke. “I agree with Brewster,” Hamilton, of course, with an eerily similar scheming grin— a gunner’s grin. “I haven’t seen a good cavalryman perform since my last raid with Harry Lee.”

Benjamin scoffed, a low, warning laugh. “I’m not performing, Hamilton.”

“Let him go.” Tilghman looked over his shoulder, past the tree line and towards Headquarters. Were the sentries watching, or was she seeing things? He shook his head, smiling gently at Elizabeth. “His Excellency doesn’t want any shooting that isn’t drills, let alone a pistol from horseback.”

“You’re wrong about that, Captain,” Caleb clicked his tongue, “we’ve been at it for an hour and he still ain’t sent one of those men to come and scold us.”

Tilghman bristled at the casual rebuttal. “Don’t push your luck.”

“It’s my speciality.”

“I will push mine,” Lafayette finally entered the petty argument, “His Excellency listens to any explanation I offer. Is that not the case, gentlemen?”

“Always is!”

She ignored the rising argument over Washington’s favoritism. She looked back at Headquarters. Was he watching? Standing at his office window with his hands behind his back, distracting the others from copying orders? Would he bring it up at dinner?

If they let me stay, I’ll defend them. If worse came to worst, she’d show Washington her shot. And she’d tell him Benjamin was the reason why. She still felt his strong hands on her arm, perfecting her stance, the way he whispered in her ear, the way she turned around and her chin almost grazed his shoulder, the way he smiled when they saw the bullseye.

The bullseye wasn’t on the target, though.

“Major Tallmadge?”

“Miss?” Benjamin’s voice struck down the argument.

“Will you do it for me?”

He considered it- he considered her, searching her expression in the lull between speaking, she tilted her head to the side, giving him a soft, inviting smile. Clever girl, Elizabeth. She tried convincing herself it was wrong to use what she learned in Philadelphia on him.

Useless.

“…If you really want me to, Miss Walker.”

Elizabeth and Caleb exchanged the weapon. She held the pistol. Was the handle still warm? Still pulsing with their shared energy? “I do.”

Benjamin nodded, resigned. “Just a moment.”

He took the pistol from her and tucked it into his belt. He left the group, grabbing his helmet and cradling it on his side. He disappeared from the clearing and transformed into a silhouette until he reached Headquarters.

Caleb inhaled sharply through his teeth, shaking his head. He folded his arms. “He just can’t say no to you, Lizzie.”

Lafayette and the aides raised their eyebrows, but didn’t say anything. Elizabeth caught Tilghman’s expression change— changed to his curious, almost apprehensive look from earlier. Take a step back, Ben, he’d said. She hadn’t notice they were practically- she couldn’t call it an embrace. Yet there was no other word she could use.

Even though he technically outranked him, Benjamin had listened to the order.

[milfygerard]

Just talked about it a bit on pillowfort but I need to talk about this One Page Of Perfect Paneling.

be prepared bc I made a chart

source for all the screenshots present here is Detective Comics Issue #63

context: Batman and Robin have just come back from patrol and are exhausted and ready to sleep. They come in suprised to find that Bruce's vault is being broken into. A fight ensues

ok gonna break these down by line (action) and stars (setting and staging)

Yellow Line: so the first point is a small detail added to by the final panel on the page before this

Robin is drawn intentionally slightly behind Batman. Not too far behind, but Batman's cape noticably overlaps with robins leg, clarifying where they are in relation to each other.

(i also want to point out the GREAT batman shadow we get here. Nothing like a good ol batman silhouette)

from here we get the first action shot, the thief throws the flashlihgt, which batman easily dodges. However, as we stated earlier, robin was following behind batman and doesnt see the flashlight coming and gets knocked upside the head. This leaves Robin out of commission for the remainder of the fight, which gives one less body to worry about. We also see the tackle, paying off batman's crouched position witha swift and sudden action. These individual panel layouts are also perfect, with just the right amount of action lines to really express the speed and impact of both the flashlight flying into Robin and the force of batman's tackle. They also work in conjunction with perfectly placed and sized word bubbles to fill any dead space within the panel left by the extra needed headroom or by batman's sudden movement. I also love Robin taking batman's place in the corner of the frame, making the frame feel in synch with the one before it, and allows the panel to still feel balanced despite Batman's sudden movement to the left, allowing for a perfectly balanced frame to leave off the row

Now, here's the sequence that caught my eye in the first place, as its a flawless use of the western "left to right" reading style. Batman's movements, with creative use of the panel gutters, curves perfectly, leading the eye naturally from left to right. His tackle ends with him flying backwards above the thief, but due to the placement of batman's arm in panel 2, it creates a counterarc to the arc we discussed in the above section. This row change also brings a stark change to the environment (the stars will be coming in handy soon I swear) as we go from solid color ban background with maybe a line to show where Batman is standing to a fully fleshed out room with walls furniture and architecture to worry about.. The willingness to break the bounds of the panel gutters (the white space between panels) as well as the smart little coloring choice of batmans blue shoe against the thiefs black jacket lapel ties the entire scene together, connecting the above environments directly with these new ones introduced to us.

Now we move onto the stars, which mark a shift in the power dynamic between batman and the thief. We are no longer frantic and unprepared, batman has his bearings and is prepared to beat this little weasel into the ground. His dive sends him flying towards the table, which he takes advantage of to get the one-up on his new sparring partner. Let's start with the stars, the archway and the coffee table. These are brought in smartly and subtly, as staple points of the rooms geography. As mentioned earlier, batman's the joining point between the solid color backgrounds above and the setting below, bu we also havent completely left the sort of "comic fight zone", as I call it. The background colors remain inconsistent, shifting between actions and not settling until the final panel. The green yellow blue shifts keep the panels from feeling samey and dull, while stilll sticking to the consistent color palette held by the house. The two grounding points are the archway and coffee table, the arch being used to both clarify the inner geography of the house, divide the room, take up dead space within the panel, and allow for more dynamic shading and perspectives. The Coffee table is also a geography marker, a thing that exists in one room and not the other to divide the fight into another section. its also an example of a short setup-payoff.

Setup: batman is flying face first into a wooden coffee table!

Payoff: Instead of slamming face first into wood, batman does some cool gymnastics flip to use the coffee table to both support himself, safely slow his fall, and also kick at the thief, disorienting him.

The payoff itself is also a small setup for the final gag in this action scene, but we'll get there later.

(realizing here I didnt really talk about the use of the hard vignette effect on the yellow panel. I like it circles are fun and also im running out of steam so maybe I'll come back to it another day)

The posing does something quietly clever here, as over the course of 3 panels the vertical positioning of the characters is reversed. Batman starts above, flying overhead of the thief, seeming almost out of control of his own body. Panel 2 he is even with the thief, regaining his sense of control and bracing himself (and kicking a dude in the face, though it's clearly not a strong one). The third panel has batman framed lower than the thief, as he clocks him in the jaw and sends him stumbling back. And it concludes in the final panel with batman running strong and steady, framed as both above the thief and as the larger figure as he runs through the archway in pursuit. Batman seems to have the upper hand, he practically has the thief in his grasp! until...

First panel of the next page, we get the punchline that wraps up the fight. The thief is just as quick as batman, and slams the door on him before batman can get his hands on him. Because of who he is as a person, the thief then opens the door again to say one last witty remark before fucking off to regroup with his goons. This is a wonderful page turn punchline. Watching batman lose his upper hand as soon as he gets it, and watching the villain possibly sacrifice his upper hand to be a smartass is both extremely funny and does a great job of characterizing the thief as both a threat to be taken seriously, being just as quick thinking as batman, and as a guy with a clear weakness for dramatics and a desire to prove himself as clever

in conclusion, sometimes you just run across a great page of comic writing, art and panel layout work, and you must ramble about it for what must be over 1000 words on tumblr.com. I like Batman. yay!!

bonus panels: Batman and the thief (apparently named mr. baffle i am not going back and changing that) both laugh about how much fun they had because for all i rambled, the real most important part of this comic is giving batman someone to hero-villain flirt with so he can be gay and silly.

[lydiaas]

Yes that scene in the plane in the finale I love that the most I like how he gets her to smile and laugh Jiara is perfect <3 also I hope someone zooms in and brightens the kiss scene so I can see it better they zoomed out at the best part where JJ goes into another kiss I think he moves his hands up and down her back I love them so much give me more of them pates.

The way she looks at him in that scene!! So in love and just so happy to be trapped in a hot cargo plane because she is going on an adventure with him (#surf trip core).

Tha wide shot of the kiss is my favourite because of the way he pulls her into him and yeah he definitely drags his hands up her side (and it gives us a perfect silhouette for lyric gifsets). Truly insane of him. I will play around with the lighting eventually and maybe slow it down but there is only so much that can be done unfortunately.

[beautifulpersonpeach]

Slow dancing mv anon here,

The main focus would be on this older aged couple who start their day and we would get paralled /mirrored shots of them doing their daily mundane duties - could be brushing, cleaning the table, making small talk over breakfast before they head out for their respective days.

While they're out and about we get to see other couples (of various demographics, genders, races, etc etc) who cross paths with them. For eg: one of the main characters is doing some grocery shopping and in one of the aisles there's this younger couple also going through the shelves etc. Or, in the bus/train/public transport similar interactions take place. And when the main characters see these other couples they think back on when their day will end and they'll get to go home to the other. In the backdrop of these scenes, we can also hear some snippets of conversation from these other couples etc etc.

Fast forward to evening/night, both the characters are finally back, they catch up on their days, get some dinner , put on some music and dance with each other.

We would then get a zoom out shot from the kitchen window (of the apartment) and silhouetted against the light see various other couples against lit up windows in that apartment slow dancing as well. And (since it's taehyung's mv he needs to appear somewhere) one of the windows will show v's silhouette standing alone looking at the sky.

(Alone, because both his songs so far have given me intense angsty vibes from him so 😶‍🌫 )

-

Feel free to post it and all embellishments, criticisms are welcome. Just a disclaimer it's been raining here and I'm down in my romantic feels which I've channeled all into this.

***

I have no criticisms. That was perfect.

Old couple romances are really sweet, and starting out like that in the first scene sets up a heartwarming story. I also like the way you're thinking to use silhouettes and a multiplying effect to maximize the sentimental punch to the gut at the end. I don’t know what you do for a living but you should consider screenwriting, if you don’t work in that capacity already. We could be missing out on the MV or film of the year with your talents not being put to use that way.

[queen-erika-the-songful]

Best and worst parts of F2 for you?

Best parts for me:

The MUSIC oh my stars it was so good. I love every song and all the cut ones we know about (well, “Unmeltable Me” isn’t all that great to me, but it was still cute). My favorites are still “Show Yourself” and “The Next Right Thing” but I have a greater appreciation for “Into the Unknown” now too (I ended up singing it for my last recital lol).

Anna and Elsa getting the endings I thought they deserved. Even in the 1st movie, Anna felt like the better candidate for Queen to me. Like she wanted so badly to be with the kingdom and see the people, and even though she left a stranger in charge, she took responsibility for pushing Elsa too far and went after her. Then in movie 2 she’s going all over Arendelle in the opening and does everything she can in service of her people. Even her cut song “Home” is all about wanting to give Arendelle everything she can. I’m on the side of those that felt her ascending the throne made sense. I also think Elsa fully becoming the Snow Queen/5th Spirit and having her stay in the forest was the right decision. (Also SHE’S LIVING IN THE FOREST WITH THE NORTHULDRA AND NOT ALONE IN THE GLACIER, HOW ARE SOME PEOPLE NOT GETTING THAT??) Now she can finally, truly be what she wanted in the first film - fully free to be herself. She’s not stranding herself on a mountaintop or self-isolating herself in the name of “protecting” herself/Anna, she has fully embraced her powers and can be herself entirely. And if we look at the last shot of the whole movie, she’s calm and elated. The story of the sisters ends with Elsa finally being happy.

The visuals - the animation and effects are stunning and the COSTUUUUMES oh my gosh I love the costumes. My favorite is Anna’s outfit with the cape and Elsa’s spirit dress. I still kind of wish the spirit dress was a bit more “mystical” but I’ve grown more fond of it overtime (and at least its silhouette fits in with her other dresses).

I LOVE Kristoff in this film. I’ve said it too many times but I don’t really like how Kristoff was handled in movie 1. But in THIS one omg yes please more of this. He’s so supportive of Anna through and through and just wants to make her happy. I really wish his original song hadn’t got cut, it was really fun and sweet (plus Anna being the one to propose would’ve been a nice switch). I get slightly annoyed that he just spends his B-plot trying to propose until he disappears til the end, but still, he’s much more tolerable than movie 1 “stupid girl you can’t get married to that guy you’ve only known a day oh now you’ve known me for like 2-3 suddenly i love you now kiss me”.

Worst Parts for me:

The story wanted to badly for you to forgive Agnarr and Iduna for what they did to Anna and Elsa and I just can’t. Good intentions or not, THEY were the ones that shut Anna out. THEY were the ones that allowed Pabbie to manipulate Anna’s memories. THEY were the ones that taught Elsa her powers were dangerous and had to be suppressed to the point that no one would even know she had them. The most we get is Anna telling Elsa not to blame herself for their deaths because she wasn’t responsible for their decisions. I understand why “I Seek the Truth” got cut, but I still think you could’ve re-worked it for the boat scene so that Anna could get to call them out (”another secret/and another and another/ at least you were consistent/hello Father, hello Mother”).

Going off that last point, because they wanted you to forgive Agnarr and Iduna so bad, I think the Show Yourself scene, as honestly FANTASTIC as it is for the story at that point, was stopped from its full potential of being absolutely perfect. After watching the docuseries (Into the Unknown: The Making of Frozen II) I learned the writing team went back and forth for the longest time on who the voice was going to be. At one point, the idea was that the voice was Elsa herself, like her Snow Queen/Spirit form calling to her, and when she found the voice she would merge with it to become her true self. That makes so much sense with the song! There’s this journey she takes in it where she believes she’ll find a PERSON with all of the answers to who she is, while it turns out she was searching for herself and her place in the world. So she embraces her destiny as the Fifth Spirit and fully transforms into the Snow Queen. I think it makes that one line much more powerful: “You are the one you’ve been waiting for / All of my life”. BUT that’s just my own view of it. I really want a version now (even a cover) where it’s Elsa singing with herself.

I don’t like the inconsistency of the spirits - like why is there only 1 for 3/4 of the elements but then Earth has a few? And why are they all vastly different KINDS of creatures? Earth has personified elements, water and fire have animals, air is just the wind, and the 5th spirit is a human-turned-spirit. 

I think a lot could’ve been fixed with the story if they were given an extension and kept the target audience on the kids/teens that grew up with the original Frozen instead of being told they had to tone it down for younger kids. Again, the Into the Unknown docuseries showed me how troubled production was. There was so much passion behind the making of it, but because they had such a rigorous deadline and had to appeal more to younger kids, I feel like that’s what ultimately caused the movie to suffer with its writing. The writing team clearly wanted a more mature story but had to rewrite and rewrite until they had to just finish everything without being able to iron out the creases. It’s a shame, really.

[paarth-as-media]

Week 23

Cinematography:

Given the gravity of the opening, I wanted to use an aspect ratio that would narrow down the breathing space given to a character, drawing more attention to the subject. The rather trendy 4:3 ratio seemed like the perfect fit for me, and was one of the first ideas that were cemented during the planning of the opening.

I wanted to show the characters emotion through the lighting in the scene, which I believe worked out well in two scenes. The first scene is the one where Kabir finds out about the events that took place in his house earlier in the day. The subjects in frame are only visible as silhouettes, with a slit of light hitting Kabir's eye. This scene reflects his internal thought process at the moment, as he was "in the dark" about everything until it was all revealed to him. The second scene would be the final scene where we see Kabir and Dev crying. The harsh afternoon light hits both the subjects and reflects how Kabir has opened up and come clean to his brother about what he'd done last night. The shadow on his brother's face also shows the inevitable pain he feels.

The experience of being in charge of the cinematography was quite intriguing and to create shots that I thought would stand out was incredibly fun.

[ronalddweissphotography]

Capturing the Essence of New York: Ronald D. Weiss Photography NY

Introduction:

In the vibrant tapestry of New York City, where every street corner tells a story and every skyline silhouette holds a promise, Ronald D. Weiss Photography NY emerges as a visual storyteller extraordinaire. With a keen eye for detail and an unwavering passion for capturing the essence of the city, this photography studio encapsulates the spirit of NYC in every frame. Join us on a journey as we explore the captivating world of Ronald D. Weiss Photography NY.

Discovering the Essence:

Ronald D. Weiss Photography NY's website serves as a gateway to the soul of the city. From the towering skyscrapers of Manhattan to the quaint cobblestone streets of Brooklyn, each photograph is a window into the vibrant tapestry of New York life. Visitors to the website are greeted with a visual feast of images that showcase the studio's mastery of capturing the essence of the city.

Exploring the Portfolio:

Dive into the studio's portfolio and embark on a visual journey through the streets of New York. From iconic landmarks to hidden gems, Ronald D. Weiss Photography NY's portfolio showcases the diversity and beauty of the city in all its glory. Whether it's the hustle and bustle of Times Square or the serene beauty of Central Park, each photograph tells a unique story of life in the Big Apple.

Behind the Lens:

Meet the visionary behind the lens, Ronald D. Weiss himself. With a deep love for New York City and a passion for photography, Ronald infuses each image with a sense of wonder and awe. His unique perspective and creative vision capture the heart and soul of the city in a way that is both captivating and inspiring.

Excellence in Every Shot:

At Ronald D. Weiss Photography NY, excellence is not just a goal; it's a way of life. From the initial concept to the final edit, every photograph is meticulously crafted to perfection. Whether it's a candid street scene or a breathtaking cityscape, Ronald D. Weiss Photography NY's commitment to quality shines through in every shot.

Navigating the Website:

The website provides a seamless and immersive experience for visitors, allowing them to explore the studio's portfolio, learn more about the photographer, and discover the services offered. With intuitive navigation and stunning visuals, the website is a true reflection of the studio's dedication to excellence.

Connecting with the Studio:

Ready to embark on your own photographic journey with Ronald D. Weiss Photography NY? The website's contact section provides an easy and convenient way to get in touch with the studio's team. Whether you're planning a photo shoot, booking a session, or simply want to learn more about the studio, Ronald D. Weiss Photography NY is here to help.

Conclusion:

In conclusion, Ronald D. Weiss Photography NY is more than just a photography studio; it's a celebration of the spirit and soul of New York City. Through the lens of Ronald D. Weiss, the beauty, energy, and diversity of the city come alive in stunning detail. Explore the website, immerse yourself in the portfolio, and discover the magic of Ronald D. Weiss Photography NY for yourself.

[lemon-plort]

[ FFVII Demo thoughts below :) ]

Dumping all my first impressions here now that I've sat on it for a bit

PROS

This is probably going to be a bit of a mess bc there's just so much I love about this franchise...

Starting off obvious, the music oh my god. Nobuo Uematsu smashed it out but that was to be expected.

I absolutely adore how they explored Cloud's recollection of events from his pov!! Zack's mannerisms and personality showing through while the real Cloud stayed in the background and kept mostly silent (especially around Tifa). It was cool to see, and I think they did a great job blending cloud's perspective with what actually happened. It felt believable that Cloud could recall everything the way he did and seeing how his mind mended or flat out ignored the gaps and inconsistencies was perfect.

Speaking of, the method they chose to retell it. I'm so glad they opted for more of a story around a campfire kind of approach than just showing us through flashbacks. The added dialogue from Barret, Tifa and Aerith was the cherry on top.

Loved the choice system

I've seen others mention it too but how they aren't afraid to keep things a little silly :)) Cloud stuffing his mouth with those sandwiches, butchering Tifa's theme on the piano and stretching with the exercise class were great little moments and I can't wait to see more.

Sephiroth. He honestly deserves multiple bullet points. I LOVE how we got to see more of his personality pre-nibelheim disaster. His banter and expressions were such a welcome addition since I feel they never expanded on it nearly enough in crisis core! He looked genuinely upset after losing the other Shinra trooper and the amount of expression purely in his eyes during and just before the disaster- *chefs kiss*

The small details around the environment, I spent a good chunk of the time just getting in the camera mode and zooming into all the pictures Tifa had around her room or the posters in the general store and inn.

How realistic the physics were for those mako purifiers?? It made me feel like I was back hauling around road cases

Screw it he is getting more points. I need to mention his hair and boots. I couldn't stop looking at them, they were so nicely rendered...

Expanding on that everything was tbh. The fabric of Cloud's pants looks so so soft (they were looking a bit rough in remake) and all the detailing on the buster sword and metal like Tifa's gloves. I could spend hours just zooming into every little detail and texture.

I also think they nailed Cloud and Tifa's models. They both clearly look like themselves even though they're younger which I feel some games struggle with.

More Sephiroth points soz- his model was just so accurate. There were shots where his silhouette literally looked like his original art, it was so satisfying to see.

The use of the L2 R2 buttons. Idk the proper name for the feature but when they make it physically harder to press. I feel they used it sparingly which made it more effective. That scene especially with Cloud crawling towards Sephiroth...oh my god chills. It gave me the same sense of immersion like the end of Crisis Core during Zack's final stand.

More on the immersion. How they differentiated between Sephiroth and "Cloud's" skill levels by allowing Sephiroth to cast the higher level spells from the get go.

Combo moves!! One of my favourite features in FFXV so to see it translated here was great

Just going to make a general point for the atmosphere, environment, voice acting, enemy design etc. bc otherwise I'll be here forever.

Though the scene with Sephiroth cutting down all the tubes has to get a special mention. The pure disdain in his voice towards Hojo was done super well.

CONS

Some of these might be a little nitpicky since I really don't have much to complain about

I found some of the dialogue to be a little clunky at times, like the characters weren't given enough time to say their line before the camera changes. This is probably just a translation issue though and really doesn't bother me that much

Not the biggest fan of the white interface for your spells n shit. It feels like it sticks out a lot more than the blue and not in a good way.

I think I just generally prefer remakes UI (except the pause screen, I enjoy getting to see their models rather than the still images we had before)

Moving around the map is a bit clunkier than I would've hoped. The inside areas were better but outside felt choppy at times.

the storage space....

MISC.

I find it generally funny how they completely skipped over any mention of gackt Genesis. Like it makes sense but as someone with no real hatred towards him like a lot of fans have, it came across like square enix was shoving him in a box and hoping no one brings it up lolol

surprised to see we're getting a demo update too, the Junon demo? curious to see what they'll cover in that

Overall though I'm absolutely buzzing. February 29th can't get here soon enough :)))

[bysumex]

Never let a sunset go undocumented [Tips Photography]

Never let a sunset go undocumented [Tips Photography]👀💥⚓ 👉 https://bysumex.com/never-let-a-sunset-go-undocumented-tips-photography/

Once upon a time in a quaint little town nestled between rolling hills and meandering rivers, there lived a young photographer named Emma. Emma had a deep appreciation for the beauty that surrounded her, but she had a particular fondness for the mesmerizing sunsets that painted the sky in hues of orange, pink, and purple.

One day, as Emma strolled through the town square with her camera slung over her shoulder, she noticed a group of friends gathered on a bench, laughing and chatting. The sun began its descent, casting a warm glow over the scene. Emma couldn't resist the urge to capture the moment.

She approached the group, explained her passion for photography, and asked if she could take their picture against the backdrop of the setting sun. They happily agreed, and Emma quickly set up her camera, adjusting the settings to capture the rich colors of the sky.

As she clicked the shutter, freezing that moment in time, Emma couldn't help but feel a sense of satisfaction. She realized that sunsets are like fleeting works of art, each one unique and impossible to replicate. It became her mission to never let a sunset go undocumented.

Here are some tips Emma discovered along her journey:

Always Have Your Camera Ready: Carry your camera or smartphone with you wherever you go. You never know when you'll stumble upon a breathtaking sunset, and having your equipment ready allows you to capture the moment without missing a beat.

Experiment with Settings: Play around with your camera settings to find the best way to capture the vivid colors of a sunset. Adjust the exposure, white balance, and focus to create the perfect shot that reflects the beauty of the moment.

Scout Locations in Advance: Explore your surroundings and find spots that offer a clear view of the horizon. Whether it's a rooftop, a hill, or a beach, knowing the best vantage points in advance can help you make the most of a stunning sunset.

Include Silhouettes: Experiment with incorporating silhouettes into your sunset shots. Whether it's the outline of trees, buildings, or people, silhouettes add depth and interest to your photographs.

Capture the Progression: Don't just focus on the final moments of the sunset. Start shooting early to capture the changing colors and the evolving sky. This can result in a series of photos that tell the story of the entire sunset.

Emma continued to document sunsets, creating a stunning collection of images that captured the essence of each moment. Her passion not only brought joy to her own life but also inspired others to appreciate the simple beauty that unfolds in the sky each evening. And so, in that little town, the tradition of never letting a sunset go undocumented became a cherished practice for generations to come.

#almeria #sunsetlife #goldenhourphotography

[hectormcfilm]

Killers of The Flower Moon

The latest Martin Scorsese film has been released to a very mixed reception, some saying it is his magnum opus, a modern masterpiece, others saying it is overly long with its runtime of 3 and a half hours, not earing this run time... Personally, I don't fully agree with either of these statements.

To start off with this film delivers some great performances, De Niro is excellent as the manipulative and calmly intimidating William Hale. Lily Gladstone has a great and believable dynamic with Leonardo DiCaprio and has a very convincing and subtle performance herself, being a front runner for best supporting actress for sure. DiCaprio does a perfect job at portraying such a hateable and pathetic character, however in terms of best performances this year Cillian Murphy still stands above him.

When it comes to more technical elements the cinematography was a highlight of this film, the best shots in the film for me were during the burning of one of the oil farms, the use of silhouettes in the night combined with the glowing flames and heat haze created an undeniably cinematic atmosphere. There are some other standout shots like the feather blocking the sun, in general some of the best bits of photography centred around the sun and the moon, reflecting how important the sun is in the Osage culture, them believing the sun to be the grandfather. Linking to this, I really enjoyed moments of learning about the Osage culture and this time in history as it is something I am very uneducated on, seeing the clash in traditions and the deterioration of the two cultures relationship was gripping and shocking to me.

I am not completely positive on the film however, I do think the pace slows down towards the end of the second act and the film can feel meandering at times, I don't think the 3 and a half hour runtime is inherently a negative but certain scenes felt unnecessary like near the end of the film showing flashbacks of the murders and exactly what happened. I preferred some of the ambiguity and mystery of the film reflecting how it was so difficult to prove anything back then.

I am mixed on the ending of this film, the final scene between Gladstone and DiCaprio I was quite disappointed with, I would've enjoyed to see her have a big moment of berating DiCaprio for all his mistakes and lies or something more emotional. However, I really enjoyed the unique penultimate scene showing a modern stage play explaining the events of what happened after the film, this is much more engaging then simply showing text on screen explaining an epilogue like many films do and the setting of a stage play helps reflect how this time in American history is trivialised (this being exemplified with the trumpets exaggerated accents). Then the final shot of the film felt perfect, a rising drone shot appreciating the Osage culture as they celebrate a beautiful final moment.

[blog-cael3016]

Final Project Proposal

Concept

‘Life looks better on super 8’

This video has a documentary-style with a romantic theme, primarily shot in super 8mm film format and the footage would be creatively edited. The purpose of this short film is to capture romantic moments in life. I am passionate about vlogging because it allows me to document beautiful moments, helping me uncover the beauty and joy in life. This is not a vlog, nor is it a simple life recording. Unlike straightforward documentation, this project focuses on discovering the beautiful moments in life. It's not akin to taking a photo; it captures genuine, unscripted moments. The key idea here is that if you perceive your life as beautiful and filled with love, it will manifest as such. Thus, I aim to find and celebrate the romantic and loving aspects of my life.

Film Techniques

Additive

Rotoscoping

Rotoscoping is the technique of meticulously modifying film footage frame by frame. Animator Max Fleischer introduced it in 1915 to enhance the realism and fluidity of animated characters' movements. Vox. (2020). The trick that made animation realistic [Video]. YouTube. https://www.youtube.com/watch?v=IS1hCSsmH1E

Subsequent Disney productions, such as Cinderella and Alice in Wonderland, employed a simplified version of the rotoscoping method. Instead of the traditional projection and tracing, animators directly observed live-action scenes to study body movements and facial expressions.

Cinderella (1950), https://www.intofilm.org/films/2770

Stop-motion

Stop motion animation represents an evolved version of the flipbook-style animation, characterized by the process of photographing and physically manipulating objects within the frame. When these frames are played sequentially, it produces the illusion of an object moving on its own. Science Filmmaking Tips. (2018). How to Make Stop Motion Videos [Video]. YouTube. https://www.youtube.com/watch?v=_ppedXZHhE0

Techniques Application

Rotoscoping➕Additive This can help my character in the film showcase various expressions, adding interest to the video. I will incorporate hand-drawn elements into the footage, transforming the character into a hand-drawn cartoon. Additionally, I plan to blend original footage with a silhouette effect. Stop-motion➕ Super 8 I will utilize super 8 to capture the images frame by frame, giving the visuals a less cohesive yet more intriguing look. I'll freeze the movements of the people in the video while maintaining some continuity. This approach can effectively convey our happiness.

Reference

Sam Newton

‘I create cinematic travel videos, and make music. It doesn't make a lot of sense but just roll with it.‘ Newton, S. (2020). If We All Die Tomorrow | SUPER 8 Travel Film [Video]. YouTube. https://www.youtube.com/watch?v=qXszGgAOAfg&t=2s

- color matching

- reality recording

- beautiful moment catching

unknown

capture not only the character's moments but also the empty scenes that evoke a sense of romance Youtube (2020). you.[Video]. YouTube. https://www.youtube.com/watch? v=qXszGgAOAfg&t=2s 

Adam Settle

Settle, A. (2022). Kodak Ektachrome Super 8 Film | Canon 1014 [Video]. YouTube. https://www.youtube.com/watch? v=yfzeS1SWCaE

- Transitions

- Quick lens switching

Soundtrack

The soundtrack differs from the example. I'll incorporate lively music to set the tone. The concert aligns with the themes of freedom, travel, and happiness, featuring powerful drum beats. I intend to capture some of the soundtrack while filming with super 8. Additionally, I'll invite my friend, who will appear in the film, to sing songs, even if it's not perfect, as it adds authenticity to the project. There will be a sudden pause in the music to emphasize our authentic sounds, synchronized with specific scenes in the film. I'll also use the guitar to complement the sound and rhythm. The music will have its ups and downs, building to a peak to enhance the film's focus and captivate the audience. My choice of music will enhance the atmosphere, convey my current emotions, and spread a sense of love.

Resource Requirements

- Super 8

- found footage

- scratch/additive tools

- lights

Phase

[sleepymarmot]

Phantom Thread (2017)

[Finally forcing myself to post the reviews of films I watched earlier this year. Saw this one on January 29th — almost exactly seven months ago! As usual, I also post the notes I took while watching, so scroll down a bit if you only want the review.]

Liveblog

The dress is pretty but it doesn’t sit well on her at all.

Damn that was quite a rude way to hit on a perfect stranger

Girl has no sense of self-preservation! What do you mean you get into the car of a customer you talked to for two minutes, after dark?!

Wow he put his fingers in the sauce, is that normal for rich British men or is that another creepy flirting method? That’s unhygienic, please use your own food for innuendo

Oh my god Cyril is immediately acting creepy also

“My job to give you some. (beat) If I choose to.” Dude lmao…

“You have the ideal shape. He likes a little belly.” Ok first of all, insane thing to say once again. Secondly, w h e r e

I like this dress even less. Weird skirt, looks uncomfortable.

Why did he bring his sister to their date

“How early?” “I’ll wake you.” …

The fabric conversation… Is this negging again or is he for real

I really thought Cyril would say “Maybe you’re being too fussy.” I guess Alma has not yet leveled up enough to get quoted verbatim

“But, please, don’t let her sit around waiting for you.” Ha, now Cyril is repeating Alma’s words without even knowing Does Cyril not drink from the kettle? That was kind of risky…

The wedding dress is ugly Oh, he said it himself, okay

Damn, all of these women have to work overtime because of this couple’s power plays

He went from “I want a divorce” to “We’re doing food poisoning based BDSM” awfully quickly

Wait where’s that text post about being poisoned by your wife... Was it inspired by this movie lol

Ok so we all agree Reynolds is autistic, with his routines and picky eating and misophonia

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Review

How come Tumblr has never mentioned this one to me? Feels silly to say “where have you all been hiding this” about a Best Picture nominee from five years ago, but still. This is literally a romance between “ok first of all i didnt "miss" the red flags i looked them and thought yeah thats sexy” and “love my terrible wife […] when we eat dinner ill smile and say “poison again ?” and she will shrug mischievously but we both know it is very much poison”!

General notes

Set design, cinematography and lighting were beautiful. In our age of murky shots, it’s remarkable to see a film that’s never underlit — sometimes even the opposite. Wasn’t a fan of the grain, though; the flickering is hard on the eyes, and in the copy I watched it looked like a low quality rip instead of a warm nostalgic analogue look that I assume was intended. The sound side was as good as the visuals: this might be the first time I actually noticed the sound design, and the score was nothing less than what I expected of Jonny Greenwood.

I have mixed feelings about the costuming. Some of the dresses are beautiful… but the two most important ones, the very first dress we see and the very first dress made for Alma, didn’t fit the wearers’ silhouettes, and looked stiff and uncomfortable.

Some of the dialogue, mostly at the beginning, felt unnatural; not sure if that’s just me not being a native speaker, since nobody else had the same complaint.

I didn’t get “never cursed”. Was that a statement Reynolds secretly made about himself, or a lucky charm referring to the princess’ marriage? Why did Alma rip the label out? Why did she join the seamstresses in the first place — did she feel guilty that they got caught in the crossfire and had to work overtime because of her, or did she just want to inspect the dress? I also don’t understand why people seem to adore the New Year’s Eve scene.

Do you think Alma told the doctor the whole story, or just talked about their relationship but left out the poisonings? I think it would be unwise to tell that to anyone lest they call the police…

In the sections below, I am going to talk negatively about Reynolds a lot. So I want to clarify first: I do sympathize with Reynolds in many ways; I wouldn’t want a new person to get in the way of my habits, and I would be unhappy with the surprise dinner too. And that’s also exactly why I don’t invite strangers to live with me and interrupt my routines then get mad at them for that, you know…

Filing this one as “Movies I wouldn’t want to watch or discuss with my mother even though there’s zero sex and nudity on screen”. I don’t know which part would be more awkward, the Freudian subtext or everything else…

The omelette

I’ve recently acquired a bad habit of reading too much about movies before watching. In this case it was probably a good thing, though: without the spoilers, I doubt I would have seen this any time soon, or managed to sit through the first hour. Luckily, I didn’t know the key element of the omelette scene, and still managed to have a proper first time viewing experience as it slowly dawned on me that Reynolds was aware of everything and the poisoning was going to be consensual this time.

That scene, and the follow-up interactions between Alma and Reynolds in the cottage (excluding the daydreaming flash-forwards, which I have mixed feelings about), were, unsurprisingly, my favorite part of the film. Many reviews quote Alma’s monologue (which, as I realize now, I might have originally encountered in a joke screenshot with zero context) or the line Reynolds says in response, so I’ll highlight some other things. The contrast between how simple and ordinary their actions are on the surface (cooking, serving food, eating, talking at the table) and how wild the meaning of these actions is; the mix between a duel, a dance and a negotiation that mostly consists of extremely mundane movements. The intense eye contact, the “I know that you know that I know”. How Alma put too much butter in his food and poured water too loudly for too long, and he accepted it without complaint but with the same calm and clarity as the poison. How they look genuinely happy, in love, and on the same page for the first time in the entire film. How easily he says “I love you”.

The omelette discourse

…And now that I’ve documented my immediate positive emotional response, it’s time for some overthinking and complaining. Perhaps everything I say below can be dismissed by saying “they’re both awful and deserve each other, that’s the point haha”, but that’s not a mode my brain can stay in for long. So please bear with me, or just skip this section.

Because no matter how exciting and cathartic that ending is, I can’t help but ask: what next? Is this experience going to let Reynolds finally grow out of his cycle of childlike helplessness and patriarchal despotism, instead of solidifying it? What are we supposed to infer — that the poisonings are going to be a regular occurrence from now on, or that they will become unneeded as Reynolds gradually mellows out? (The former would, realistically, have diminishing returns and practical complications like “people are going to start asking questions”, and the latter kind of goes against the celebratory kink-positive tone of the film’s grand finale.) Are we to believe that Alma’s poison is an antidote to Reynolds’s toxic masculinity, and that the more he submits to Alma the more he can tolerate her when things go back to normal, until the two of them grow to exist harmoniously?

I guess there is some evidence of that process already beginning. When Reynolds bounces back after the first poisoning, he’s slightly less mean to Alma than before the marriage. Alma’s poisoning is also less destructive the second time: consent, no collateral damage, not on the eve of an important deadline, she agrees to call the doctor.

I think the film wants the viewer to think that by the end, Reynolds and Alma’s mutual toxicity cancels itself out, and they manage to reach a harmonious equilibrium. That might be true of the first poisoning, where Alma retaliates against Reynolds’s abuse with some of her own. At the mid-point of the film, their vileness is pretty evenly matched. After that first poisoning, there’s a brief honeymoon period. Then Reynolds goes back to berating Alma, disregarding her feelings, and being dissatisfied with her presence in his life… And in response to Reynolds making her feel unloved, Alma does something that makes Reynolds feel loved. In the end, the score is still in Reynolds’s favor instead of being even. Even in Alma’s daydreams of their happily ever after, the closing monologue of the film, there is no mention of Reynolds changing to accommodate her, only of Alma changing to accommodate him: “I am older and I see things differently, and I finally understand you.”

Perhaps here the story structure and the balance of power between the characters are in conflict; it makes sense to end the film on the strong scene that changes the relationship in a major way — but that means the viewer doesn’t get to know if that change leads to improvement. We never learn if Reynolds eventually becomes a better partner; we only know that Alma is committed to him either way.

No matter how satisfying the couple’s new arrangement is to watch, I don’t see how it would help with the actual problems in their relationship. They are at different stages of life, and that exacerbates the natural differences between their temperaments. Reynolds doesn’t respect Alma as an equal; he insults her and allows others to insult her to his face. He has immense power and privilege over her socially and materially. He has a career that he loves and a devoted sister, but she has no life outside of him — no friends, family, interests, hobbies, income, etc. — and it’s hard to tell if it’s sexist writing, intended characterization, or both.

How is any of that going to be helped by them growing closer emotionally? You two found a love language you have in common and unlocked a new level of intimacy and mutual understanding, congratulations! Is it going to broaden Alma’s horizons and opportunities? Is it going to give Reynolds more progressive views and social awareness, enough to at least defend the honor of his lower class wife? Is he going to stop being emotionally abusive because he is emotionally fulfilled?

This would imply that Reynolds behaves the way he does simply because he is too high-strung and he just needs to take a chill pill. That the problems in their relationship can be reduced to him being a control freak, and once he gets accustomed to giving up control and learns to enjoy it, and then he’ll be a good partner. Sorry, but it’s hard for me to believe that one can tame, let alone fix someone by domming them.

The film seems to attempt a subversion of the patriarchal, hierarchical “artist/muse” “upper class/working class” “man/woman” power dynamics. But the characters do not dismantle that existing power imbalance: instead, they build something new and mutually satisfying on top of it. The film intentionally avoids the feminist wish fulfillment route: Alma doesn’t liberate herself, and she doesn’t even want to. It’s a fairy tale where the Beast doesn’t really become a better person, so the Beauty becomes a worse one to “match” him… but she’s still locked inside his castle. Alma doesn’t abandon the role of a muse, only adds another traditionally feminine role to it: mother. As Feminist Frequency’s review puts it, “Traditional, restrictive gender roles are not escaped; one set is just briefly swapped out for another.” Related: it might be just a consequence of Reynolds’s chosen trade, but the people Alma walks over in her bids for his attention are always women (Barbara Rose, the seamstresses).

Speaking of motherhood… What happens when the woman who likes to treat her husband like a baby gets a real baby? How does she split her time between them? Does she end up neglecting one of them, does that make Reynolds jealous or more abusive? Or will he by that time have gone through enough personal growth to be actually fit for fatherhood? An interview with an expert on Alma’s specific brand of abuse asks an even more worrying question: “I also wondered about the baby at the end, because those who engage in the behavior are likely to do it [again] when similar situations arise. So as the baby gains skills of emancipation, would Alma be equally threatened by that? I saw the baby and thought: Oh no, it may be at risk.”

Perhaps I am being overly cynical and uncharitable here because of who made the film. When an artist with a history of being cruel to his girlfriend writes a story about an artist being cruel to his girlfriend, and makes the fictional girlfriend abusive too, how can I not question it? This film was already very awkward to approach and enjoy as a fan of Fiona Apple, even regardless of its content.

The relationship development

Another thing that didn’t work very well for me in the final sequence is something that also applies to the other parts of the film: the internal logic of the couple’s relationship development. Reynolds goes from “This was a mistake, I can’t live like this, I want a divorce” to “Intoxicate me now 😏 With your lovin’ now 😍 I think I’m ready now 😳” in the space of one cut. These scenes are directly adjacent with no development between them. It makes sense from Alma’s perspective (“what an asshole he’s being, he needs to be poisoned ASAP”), but not from Reynolds’s.

On Alma’s side, though, there’s also a bit of weirdness: Alma to Reynolds: Don’t worry babe you’re not gonna die, I’ll take care of you <3 Alma to the doctor: If he died that’d be fine by me, we’d just meet in the afterlife ¯\_(ツ)_/¯ I really can’t tell how I am supposed to take this, and which of the men she was lying to!

But let’s go back to the beginning of the film. Throughout the initial phase of the relationship, I was sure that Reynolds chose playful bullying as his flirting tactic consciously, but later in the film he showed so little self-awareness that I started to suspect he thought that was a normal way to show interest in a girl you just met. Either way, I was surprised that the way he condescended to her changed considerably when the seduction was over, though in retrospect it makes sense. On Alma’s side, there was a similar shift: she was far more welcoming of his insulting methods of flirting than I would expect from a self-respecting adult with a strong personality, and started rebelling when they settled into domesticity. Perhaps the domineering attitude of a handsome stranger showering her with attention was exciting at first, but when their relationship became routine, she quickly grew sick of being treated like a second class citizen in what has become her own home. (I wasn’t joking with the quote at the top of the review: it was my genuine and immediate impression that Alma goes along with the 342561 red flags exhibited during the very first day not because she’s a doormat but because she’s a freak.)

The love at first sight didn’t work for me, as well as the couple’s determination to stay together despite their incompatibility. I’m just not convinced that they actually love each other as entire human beings. They do love certain sides of each other. Reynolds loves the muse with the perfect measurements; the assistant totally devoted to him; the new woman (future) finally displacing his older sister (present) and mother (past) while, unlike them, also being his sexual partner. Alma loves the genius who makes her feel beautiful and important. They both love the persona the other assumes in a caretaking scenario. But is there a deeper connection? Do they actually love each other unconditionally, not just the aspects of each other that fulfill their needs? I’ve seen quotes in confirmation of that from PTA and Vicky Krieps — but the text itself provides no satisfactory evidence of that.

Obligatory comparisons with other films

I like to chain movies together because of themes or character dynamics they share. A couple of reviews for Crimes of the Future mentioned this film, and I decided to watch it next assuming that the similarities start and end with the relationship between an aging artist and a strong-willed younger woman. Turns out, these two films also make an interesting double feature because in some ways they’re an inverse of each other. Crimes of the Future and its main couple wear abnormality on their sleeve, but the central relationship is healthy and stable; Phantom Tread appears classy and family-friendly, hiding the more shocking aspects of the relationship beneath the luxurious surface. Both films are very sensual without the conventional sex scenes, but the approach is diametrically opposite: Crimes of the Future circumvents the content rating system, managing to put explicit scenes on screen just because they don’t contain specific banned body parts; Phantom Thread purposefully and conspicuously avoids showing any sex or nudity to preserve the aesthetic and make other scenes feel more charged. The protagonist’s old age is important in both: for Saul, it’s deteriorating health and conservatism towards newer ideologies and ways of interacting with and modifying one’s body; for Reynolds, it is the decades of habit and privilege making him internalize the belief that his own authority, taste, routines are something absolute and unquestionable.

A bigger surprise was the two films also shared the theme of food and eating. Crimes of the Future: eating as a fundamental bodily function, food as means of sustenance, and the politics of food; Phantom Thread: eating as pleasure, food as means of human connection, and the power dynamics of feeding and being fed. Both films go deeper than the surface: food is not just something that is served and tasted, but chewed, swallowed, and digested, which is not necessarily a smooth and uncomplicated process. Phantom Thread’s exploration of the food theme is probably the best one I’ve seen so far not just in film but in any media, and the only one I can think of where “food as love and sex” made sense for me.

Choosing The Favourite as the next film to watch after this one was a good choice too: they also had some things in common. There’s a young woman winning an older and more powerful person’s affection by taking care of them while they’re sick, there are toxic relationship, there’s even literal poison... The older parties are similarly spoiled and eccentric but very different in certain important ways, and the protagonists are even more alike.

People have mentioned this film’s similarities to Rebecca, which I haven’t read or watched; my own first thought was about Misery, which I also haven’t read or watched. Out of the films I’ve seen before, there’s Crimson Peak — someone made an entire Venn diagram for their similarities. I’ve also seen comparisons with a number of other films, mostly ones I haven’t seen. Is Phantom Thread more intertextual than the usual or is that just me?