Is the American Horror Story fandom dead?? Or why else did everyone obviously sleep on season 11? It's so good and so heartbreaking. You're all missing out.
I'm just catching up on it, and there's literally nothing in the tags, no gifsets, no meta, nothing! What a shame.
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i think we as a society need to stop drawing the gender bent versions of crowley and aziraphale younger and hotter. we have seen crowley present as a woman before and she is clearly still middle aged and lanky. and aziraphale probably wouldn’t get very much shorter or younger. draw them with the wrinkles, cowards
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watching rick beat the ever-living-shit of prime like that felt so real. each swing and hit felt visceral and caused me to flinch each time. watching an actual person take out their frustration, rage, turmoil, and grief in such a way stun-locked me.
seeing him lose his resolve felt so personal to where i felt like i was trespassing on something or watching something i shouldn't have been. it really emphasized to me that rick really is just a jaded, sad old man that's been stricken with ghastly amounts of grief and self-hatred for decades. he's pathetic and he knows that!
and to me he didn't look satisfied or content, he looked... gone. dissociated. like just so checked out. he looked so lost and dejected which made it worse. listening to prime's monologue and watching rick fully lose himself and see how fragile his mental state really is was so uncomfortable in such a good way.
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I think we need to talk more about Izzy in the sixth episode
Like he is being accepted by the crew, finally getting recognised as a true part of the crew and no one says anything about his looks
He just found out about the make up and jumped into this and I love it. Theres no misunderstanding, theres no humiliation, its just him doing what he likes, and thats incredible
And have you heard the singing? Man's an actual siren with this voice
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Tiny YR S3 Analysis
Just wanted to compare the parallels between these two hand holds in 3x05 and 3x06:
(Please ignore the shitty screencaps, I tried my best)
In terms of composition, these shots are identical. A hand-hold centre to the frame, in a car with the camera placed in the middle. However, they're underpinned by different narrative contexts.
Here, the first shot from 3x05 is drenched in darkness. The actual lighting inside of the car is dim enough to obscure both of their suits, which almost blend them into the seats and so it becomes hard to distinguish between the two of them - The only focussed light is on their conjoined hands. Notably, the actual touch itself is tentative, almost like the bridging of an awkward divide on the way to the palace. Neither of them are sure what the touch actually means. Even their sleeves fall over their wrists and interfere with the actual act, so we only see the bottom half of their hands. Simon reaches out first and places his hand in the open sliver between the two seats before Wille accepts and laces their fingers together. It's an assured squeeze that reads as: "I'm not sure what will happen. I'm nervous." "I am too."
This scene has garnered a lot of analysis for its parallel to the Kristina x Wille car scene in S1 where people have commented on the reversal of blocking - Wille now assumes Kristina's position and Simon equally assumed Wille's. We now know that this arrives before the birthday explosion, and so it's also a touch that signifies confronting the inner workings of an oppressive environment (the palace). It's nerve-wracking and cautious and consolidating, but it's also doubtful. We, as spectators, pick up on visual and physical cues and so we begin to see the hand-hold as an visual indicator that the unity between the two characters is about to be disrupted.
~~~~~
However, the shot in 3x06 reads entirely differently. The first thing is that the shot is bathed in light. It's a bit like an embrace, contrasting the previous presentation of a cold backseat, Simon and Wille are literally basking in the sun. Most importantly, there is a light flashing on Wille as it seeps in from the windows, illuminating his spot as a person who is newly free. Simon sits to the left with the natural light (no abundance of light) because Simon has always strived to be free. He has never turned away from the light. As he said earlier in the episode: "I never gave up on us. I gave up on the royal court." For Simon, the issue was never the fear of being free, but the constraint of not being free. For Wille, fear hung over his shoulders just like a King's robe would. Being free was an aspiration, never a reality.
But that has all changed. The light is let in. It stands similar to a spot-light, where Wille finally lets the sun hit his body and not have it scorch him, but rather enlighten him.
The actual act of holding hands is no longer bridging an uncomfortable space; It's an assured togetherness. It is the two of them acknowledging everything that has happened and knowing that a future for the two of them is no longer a "possibility", but a truth. It's giddy and confident and safe.
It's also the final touch of the season, and so it had to speak louder than dialogue ever could - Which I think that it does. Throughout S1 and S2, we understood that physical touch was always done in private, or if not, it was done discreetly with the knowledge that it was fleeting. S3 saw the transition from private to public, but not without the fight to touch and not have it be seen as a revolution. To just let it be what it is. And THIS is what the show has been working towards for 3 years. It can all be summarised with this simple, final hand hold in a sunny car that's racing towards a future that finally, finally resembles their dreams. It's not overtly revolutionary, it's not a grand gesture; It's just theirs.
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I've reached season 5 on my CSI rewatch and I'm a few episodes past "Swap Meet", where a woman is murdered after attending a swing party with other couples from the neighbourhood. Near the end of the episode there's a moment that made me jump from my seat:
(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)
Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.
[INT. POLICE DEPARTMENT - HALLWAY]
(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)
(Grissom walks up to Sara and takes the seat next to her. He's holding two culps. He hands her a cup of tea.)
LIKE!!!!!!!
Right after Erin ends her sentence with 'girl at the office', the first time Sara and Grissom meet again, he brings her tea. This might be an innocent interaction but to me it seemed like a nod to this relationship they have where both are into each other, know about the other's feelings, but can't/won't do anything about it (although Sara has kind of given Grissom an ultimatum). I don't know if it was intentional - I'm guessing it is, because I picked it up immediately. I might or might not have squealed in delight.
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