#frame by frame analysis

[snowyh2o]

Ok, so I think I’m finally sufficiently bored enough and have enough time on my hands to do this.

First post of the planned six ??? I have in mind dedicated to analyzing (every frame he’s in) Alastor and whatever his deal is in each of the episodes he shows up in!

Part 1 of Episode 1!

So let’s start right away with Episode 1! (I am skipping the pilot for now, because the characterization of his character has changed some. Particularly how he presents himself to Charlie and how he acts around Vaggie.)

First time we hear about Alastor is Vaggie mentioning he had something he wanted to show Charlie and Vaggie. This implies that while the two may have asked him to make the TV ad, he does seem eager to show off his work. And that they probably haven’t asked how much of the ad he’s finished.

First time we see Alastor is during his little TV ad!

He’s actually walking around Hell holding a camera and recording the ongoings of the sinners there, most likely what’s literally happening down the street from the hotel.

Notably, none of the demons start running away in fear, instead they all just look. Really confused.

More of them do pop out of the rubble when he starts speaking.

All of them do appear to be listening. Even the guy who was getting beat up.

Looks like he interrupted a turf war of some kind, or was recording in a place that hadn’t recovered from the extermination. Or a combination of both, this was likely recorded within 5 days of the last extermination.

When his hand appears in front of the camera the video glitches slightly.

There’s a messy static filled cut when he pans over to the hotel, so probably recorded the hotel’s image separately. Or while panning he caught himself in the camera by accident and couldn't be bothered to fix/redo it.

All the other shots of the hotel members are very clearly candid ones. So Alastor waking around the hotel recording everyone is canon, btw (someone make a comic or fic about the hotel members asking why he’s walking around recording them).

When he’s recording Charlie, Angel Dust pops up to give her 4 bunny ears and Alastor shifts the camera just slightly more to the left to recenter Charlie and push Angel a bit further out of the frame lol

He says “founded by Lucifer’s delusional daughter 5 days ago!” Which means he, at the very least, did the voice over 5 days after the hotel’s opening/extermination day, and 2 days before he shows Charlie and Vaggie the finished product. Probably spent all that time editing the whole thing lol.

Next shot of Charlie seems to have been a clip of her failed attempt at advertising the hotel’s opening from the pilot.

The next clip is actually very well edited together. It’s a still image of the hotel in the background while photos of Charlie are placed over top of it. So we know he either edited those photos to slide onscreen and added the little fwhip noise of photos being placed, or he green-screened that scene on a table and cleaned it up that you couldn’t tell it was green screened.

Also how did he get those photos? Were they just lying around?? Did he photoshop them???

By this point it’s clear he’s doing a voice over for his ad, so we don’t know if what he said at the beginning to all those sinners are what we hear in the ad, or if he was spouting off nonsense to grab their attention lol

The remaining shots of the hotel and the residents are longer clips, but also just so happen to capture the worst state the hotel is in (Husk collapsing onto the bar counter, a rafter? Beam falling and crashing onto the parlor table, Angel Dust being so done with Alastor’s bullshit he’s giving the camera a middle finger.) this implies that Alastor was either waiting around for the perfect shot, orchestrated those events himself, or by complete coincidence filmed it once and it was just Like That.

These shots are also interspersed with bold full cap messages that follow the narration he’s doing. Definitely edited in, and very reminiscent of those old informercial ads. Also the little spins and borders and sound effects and WOW.

And the fun little background music playing the entire ad.

Never caught this on the first watch through, but all the shots where Alastor’s actually recording with a camera are always slightly unsteady, like he’s doing it with a handheld recorder. Which means the shots where it’s not wobbling slightly weren’t recorded by him. Which means he actually did edit in those photos and that sound effect.

He keeps the sound of the camera zooming in and out. Actually, he didn’t edit out any of the original sound from the videos. You can hear Nifty very quietly go “Staby stab!” And the sound of the wood beam crashing into the table.

The clip of his drawing was recorded. He’s holding a camera up to the drawing instead of just taking a picture of it. You can tell because the camera slides around a little.

Lots of fun things on the drawing!

Looks like he drew the hotel on some clean, new paper, then cut it out to tape it onto something older and with a Danger: Authorized Personnel Only sign on it. Which was then stained with blood. Somehow. Or he cut out someone else’s drawing of the hotel.

There’s a lot of detail in the drawing, it looks surprisingly good, but the coloring is very low effort.

Actually, I think he stole someone else’s drawing. The handwriting for the sign on the hotel is slightly different to the one that’s scribbled everywhere else. The drawing is also done with a much finer pen than Alastor’s notes. He might’ve colored it tho, and added the little red lights to the radio tower lol

He stuck smiley face stickers all over the paper, and then drew bigger sharper smiles on them.

Sale, 50% off, $1

Ship! I guess

The sticky note with “No tacky circus decor! I promise”

“Neat”

“HOTEL!!!”

“Haha I named it!”

“Best part!” Points to the radio tower that definitely looks like he just slapped it onto the side of the building.

All his notes are written in capital letters, the handwriting isn’t bad, but it is uneven. Hard to tell if he did it on purpose or if that’s just his handwriting. They are also, for the most part, written slanted instead of straight, which is an interesting detail.

The final shot of the ad is a pan-up of the hotel. This time the camera remains steady the whole way up and even as it stops to focus on the hotel’s sign. Which we know is still a recording because the lights are flickering. This means the guy finally pulled out a camera stand or something and used it for the final shot.

Call now! Or don’t! We still don’t have a working phone!

The voice he does for the TV ad is slightly different to his normal speaking voice. I can’t tell if it’s because the filter is stronger in the ad, or if it’s because he’s actively putting on an advertisement voice, but something about the intonation or inflection sounds distinctly different when we cut back to reality and Alastor speaks normally.

Best thing about all this is how the low effortness of the ad is 100% on purpose. He could summon up an entire recording studio cast complete with all the necessary equipment. He's choosing to make it look unprofessional (and then did an absurd amount of editing for it all anyways).

Holy shit how did that get so long. What have I gotten myself into

Anyways! Alastor worked very hard on his ad, despite how low effort it seems at first. It took him like, a week to finish. And he did it all by hand/himself.

Like, guys. This is Alastor. Self proclaimed hater of all things technological after the 1930s. Made a fully edited— with music, visuals and sound effects— video advertisement for the hotel because Charlie and Vaggie “insisted” he make (a TV ad) one.

It’s well made too. 100% captured the tone he was going for. I have no idea why they didn’t like it lol

.....so I had less time than I thought I did. Gonna have to post the rest of the episode 1 analysis later.

#hazbin hotel #alastor #alastor hazbin hotel #Character analysis #hazbin hotel meta #long post #frame by frame analysis #episode 1 analysis #part 1 #this got real long real fast

[faeyuh]

guys. going insane.

in these scenes, his hair gets way spikier than normal, they look like knives for gods sake. this only happens when he wants to seem THREATENING

but when around people he trusts like ROSIE his hair (probably unintentionally) gets ROUNDER and SOFTER, even his coat has less spikes than usual.

GUYS HE HAS A LITERAL SOFT SIDE IM GOING INSANE

#or i could be reading too much into these frames #hazbin hotel rosie #hazbin #hazbin alastor #hazbin hotel spoilers #alastor hazbin hotel #hazbin hotel #rosie hazbin hotel #hazbin hotel alastor #alastor #alastor the radio demon #hazbin rosie #the radio demon #hazbin spoilers #hazbin hotel analysis #alastor analysis #alastor character analysis #10k?? what the freak?

[intermundia]

today on "absolutely unhinged things for stover to put on paper and lucas to approve," the depiction of obi-wan's self-aware attachment to anakin here, how ready he'd be to kill yoda for the greater good, and how he'd let yoda kill him too, but anakin is the exception to their entire order and to obi-wan's moral judgment.

all three of them here, arguably the three most important jedi in the galaxy, they all know with wariness that anakin, the chosen one, has failed to grasp the central tenet of their code, and they don't know what to do about it. obi-wan thinks he failed him, failed to teach him; he knows anakin failed to learn, failed to accept it, how he'd would never let a friend go.

obi-wan here offers keen, intimate analysis of anakin's inner workings, shining a light on who darth vader really is in his heart, his loyalty beyond any moral or ethical bounds. obi-wan is painfully aware of how he is complicit in fostering this inappropriate attachment, only encouraging anakin's behavior. we see why he apologized in the kenobi show, how he was already sorry.

tbh this page changed me—my understanding of the characters, and my appreciation of the entire tragedy, like.. look how anakin has compromised obi-wan, and look at how much obi-wan loves him anyway. look at how the heart of this incipient monster is described with tender, ruthless clarity by the one who knows it best... on the next page obi-wan's literally crying about what they've done... i'm astrally projecting into the sun

#obi-wan kenobi #anakin skywalker #darth vader #obikin #rots novelization my beloved #sw books #sw #the way this frames the battle at mustafar like #god i could write pages of analysis about Them #fuck

[actual-changeling]

Aziraphale sees Crowley standing next to his their car and he hesitates; this is his last chance, the last possible moment to change his mind about leaving.

Do you think he feels the sunshine on his hands, against his stomach, and remembers how warm Crowley had been in his arms? How warm he had felt beneath his palms even through several layers of fabric?

How for the first time in his existence his body had felt complete, like there was no longer something— someone missing?

Do you think he sees him standing in the sun, all shining fire-red and hidden golden eyes, and regrets not sliding his hand to the back of his neck, up into his hair? Do you think he regrets not taking the chance to feel it silken soft and familiar between his fingers?

Do you think he remembers all the times they enjoyed a warm, sunny day together and the way the star seems to remember that Crowley had put its siblings into the sky? Do you think he remembers rays of sunlight caressing his cheekbones and wishes it had been his fingertips instead?

'Anything you need?' the Metatron asks him, and he is still looking at Crowley with the sun on his skin.

I need you, he thinks, and even though his eyes are hidden away, he knows Crowley is looking at him.

Do you think Aziraphale remembers the kiss, remembers the love he could taste on his tongue, the six millennia of do that, please, kiss me, the slow, painful minute of do that again, please, right now?

(The realization that he won't.)

He almost stays. Almost. But the Metatron is already walking away, and he looks at Crowley again, looks past sunset conversations and sunrise breakfasts and the heart-shaped star in Crowley's chest, and feels his pain.

(Their pain.)

Do you think that's why he leaves anyway? Not just because heaven needs fixing but because all that pain, all the hurt they caused each other, can't have been for nothing?

I can't leave him— no, I don't want to leave him.

No.

No, I want to go back to him.

Do you think he takes his anger and holds onto it until it burns his palm because it is easier to be angry at Crowley, at himself, than to think about everything they just took from each other? Everything they just lost?

Everything they could have been?

Aziraphale takes the memory of sunshine on his skin (Crowley's lips on his) and locks it away in a golden cage made out of faith; faith that Crowley will be there when he comes back.

Once he does (because he will, he will, he has to), there will be sunshine and warmth and Crowley, and they will finally be able to love each other with the sun and the whole universe as their witness.

No more shadows or shades of grey. Just the two of them in the light where they belong.

#alex writes good omens #good omens #ineffable husbands #crowley #aziraphale #good omens season 2 #go2 #aziracrow #crowley x aziraphale #ineffable divorce #the final fifteen #good omens kiss #aziraphale meta #fuck the metatron #idk what to call this flavour of post #character analysis and ficlet in one with some heartbreaking screenshots #see this is what happens when i watch the kiss scene frame by frame

[midnightkolrath]

Not a day goes by where I don't think about the little 'blink and you'll miss it' smile Vergil does before doing the Jackpot combo attack with Dante in DMC3

I CAUGHT YOU BETWEEN THE FRAMES, YOU CAN'T HIDE IT FROM ME, DOOFUS

#devil may cry #dmc3 #Its so fast that I literally have to watch the frames again to catch it #this man smiles slightly then QUICKLY wipes it off #he's just as sentimental as his brother he just doesn't wanna admit it #god I hate (love) him so much #AAAAAAAAAA #leo's dmc analysis

[tobi-smp]

you know, with hindsight now what it is I really do think a more literal reading of c!techno's chat would have helped his characterization a Lot

and mind you, this was originally intended to be the case, and very well may have been intended all along even if it wasn't usually emphasized within the lore

and don't get me wrong, I Get why it fell out of favor within the fandom. it coincides with a Very storied ableist trope that demonizes DID and disorders adjacent to it, and Can be spoken about in a way that is essentially indistinguishable from it depending on the word choice.

but the thing is ! not only does it not Have to be an allegory for DID, I straight up don't think it is At All.

because we Know what it's an allegory for. It's His Chat. there's technoblade playing the game, and there's the thousands of people watching with expectations and wants that he's compelled to meet (or, at the very least, pacify through Entertainment).

and this makes much Much more sense when conceived of as Supernatural. be that spirits, gods, demons, or anything that could fill that role. separate entities that, for whatever reason, only techno can sense the presence of and be affected by.

and of course, to an extent this is true for all creators. everyone had an audience that they were meant to entertain and the choices they made were influenced by that fact.

but technoblade came in with a Very distinct set of expectations that heavily impacted the choices he was Expected to make and the kinds of stories that he could tell. he was more or less a living legend in real life just as much as he was in roleplay, and these things were inherently connected.

and it's like !

when c!technoblade says he was peer pressured into killing tubbo at the red festival he Is technically talking about what happened within the roleplay. schlatt was demanding it from him, there's a sort of pressure there. but schlatt was also the dictator they were set to kill, and techno has never had any trouble fighting people he considered a dictator before, and certainly not Schlatt of all people.

but he WAS being peer pressured By His Audience. by thousands of people, most of which were demanding blood Because It Was The Expectation, because it'd be Fun.

out of universe technoblade made the decision he thought would be the most Entertaining, and he was right! consistently he made choices that would let him do the most bombastic Spectacles possible. And It's Great. he's Excellent at pulling dramatics and making a compelling scene that give other people room to work off of. in that sense I'd consider techno an Excellent actor, and I have to imagine that he was fun to work with.

the problem is when you then have to justify it from an in character perspective, grounded in those mushy things like Feelings with characters that can be traumatized and sustain lasting damage, Especially Without acknowledging the out of character incentive.

mind you, it's not Impossible to Create a backstory that could justify it. why a character as consistently powerful and feared as technoblade would feel pressured to kill an ally by someone he not only Can kill but Wanted To Kill. why a character as seemingly secure and in control as technoblade would lash out the way that he does to perceived betrayal, and yet consistently puts no weight onto having killed and permanently scarred an ally that trusted him.

what that'd need is tragedy. a storied history of being hurt and having to survive. building up To an untouchable god from a much much more vulnerable position. Long Lasting trauma that's lead to this deep insecurity and paranoia. and that's Possible and that's Compelling.

but it's just not in the text.

not only did we never learn basically Anything that c!technoblade was up to pre-series, we actually know Less by the end than when we started because of the sbi retconning.

it's a Theoretically Possible interpretation that's technically never Contradicted by canon, but would have to be created by scratch. it's a compelling idea for a fan fic (and one I'd like to read) and it's compelling for a theoretical recontextualization of the character, but it's just not In The Text.

meanwhile, we have the video above.

we have the Objective Fact that technoblade's decision making was often subject to the rule of cool (very Very effectively) to entertain his audience.

and most compellingly, these concepts Don't Need To Be Separate. in fact, in my opinion they're Stronger when you put them together.

because the thing is. it's Difficult to imagine techno as ever being in a vulnerable position. he is just Objectively more powerful than everyone else on the server, both in real life And within the lore. How could he have ever been afraid when he was stronger than anyone and everyone combined? when we saw with our own eyes that techno could face nearly the whole server at once and win.

but he Is a tragic character, at least he's meant to be. and that tragedy makes much Much more sense as something Inward.

technoblade as a character who Needs connection, who Needs stability, who Needs security, who Needs friendship and community and Love. but Lashes Out, Obliterates to the core of the earth, because of something that's not only out of his control but that other people Cannot Understand.

how do you explain to a child that you killed their best friend because a chorus of the undead called for his blood and you (in all the glory that he'd idolized) were unable to do anything but comply? how do you explain to that child that you beat him senseless in a pit as the restless dead jeered and laughed?

That's interesting. That's Compelling.

technoblade is idolized like a god, feared like a force of nature, and in an instant cut himself off from nearly everyone who'd considered him an ally. and that seems to be a pattern, over and over and over again. he's left isolated, and in return he faces retaliation, and in return he's always Waiting for retaliation.

and what do you say to someone who wants to kill you for being a monster? that it's Fine Actually because you only did what you did because you have a curse that compels you to? that the supernatural guided you to destroy their homes and kill their people? (rip jack manifold you will be missed)?

That Doesn't Quite Help Your Case.

technoblade as someone who is beholden to this literal cycle of violence and Loses those things that could ground him, community, stability, People, as a result. who Tries to overcome this very fact (to become a better person, in his own words as per the clip above), but is pulled back into it as a consequence of his own actions.

that's a tragedy !! that Makes Sense. that allows him to be Both this force of nature that other characters have to survive And A Person Who Is Hurt By The Same Conflict.

"I'm a person!" that fear of dehumanization makes So So Much More Sense when you see technoblade as someone who Already fears himself. who fears being a monster, who fears losing control, who has faced isolation again and again and again.

and, importantly, it doesn't have to be anyone else's Fault.

by making the source both Internal and Completely External (something that none of the other characters have any awareness or control over), you can Have techno as a tragic character without demonizing anyone else Or erasing the impact that c!techno had on them.

and in that sense, it Can be an allegory for mental illness, but not in that direct "oooooh how scary he hears voices" kind of way that people fear it looks. but in that sometimes people Will do things that can hurt others while not feeling in control. anger and mania and paranoia, things that you can't always Control and yet that impact that you have on other people still Matters.

and the answer to that is, often, vulnerability and accountability.

I think a lot about technoblade isolating himself so near entirely from the rest of the server, and slowly gathering a support system Back by the end. and I Really Do think that framing of it through this lens is a Very impactful way of breaking it down.

tubbo, tommy, wilbur, ranboo, niki, I think they'd All understand not feeling in control. lashing out, maybe even feeling justified in the moment, but hurting people they care about and furthering their own isolation.

There's Something There, and it's already In The Text. it just needs to be expanded on.

and why not do that ourselves now?

#dream smp #dsmp #technoblade #tommyinnit #tubbo #meta #long post #back on my bullshit #I really do think that his character is just outright Stronger under this framing #and I genuinely think everything post doomsday would've been stronger if he'd leaned into this #that said this is probably messier than some of my other techno analysis #because I've been chewing on it for a few days rather than my usual of rehashing the same idea for two years in a row #but I'm rusty so give me a break #also derivakat voices is a straight up banger and you can all pry it from my cold dead hands

[ifwebefriends]

Sorry I’m still not over that scene of Blitz seeing Stolas’ human form for the first time so I’m going to break it down frame by frame

Initial reaction. He’s a little confused and shocked, he didn’t seem to know that Stolas had a human disguise. His eyebrow is quirked and his mouth is wide open in shock, flabbergasted, what he’s seeing hasn’t really set in emotionally yet.

His expression starts to soften, he starts to flush (I think those two little black lines are a blush?) as he really takes it all in (that’s what she said) the “totally just sexual and nothing more” feelings are just starting to pop up.

This is “I’m fucked” level 2. His pupils start to dilate as those pesky confusing complicated feelings have really set in and are visibly expressed as those impenetrable emotional walls haven’t come up yet. He really likes Stolas whether he’s a human or a bird. This is the purest most genuine most emotional vulnerable face of this set.

And this is where the fear and anxiety come in and those walls start to come back up. His pupils contract in stress as his established fear of intimacy hits him in full force. He’s starting to really think about what he’s feeling and he doesn’t like it. This whole deal was supposed to be sexual and superficial, nothing more. In Blitz’ mind, Stolas is using him and he’s using Stolas right back. He thinks that high class demons don’t care about him and the other imps and just want to take what they want from them. These feelings of genuine affection make everything so much more complicated both for Blitz and his mental state as well as the deal between him and Stolas. He doesn’t want to think about it, it scares him, so he starts to push those feelings back down in the locked box where they belong. The walls are back up and at this point, Blitz’s mind is at DEFCON 3.

#I have no excuse for this tbh #there may be more frames that I missed but these were the ones I could screenshot #tw sex mention #tw sex talk #cw sex mention #cw sex talk #stolitz #Stolas #blitz #blitz x stolas #stolas x blitz #helluva boss blitz #blitzø #blitzo #helluva blitz #stolas goetia #helluva boss #seeing stars #hellaverse #analysis

[red-moon-at-night]

I find it so SO interesting that as soon as Kazui's breaking their marriage vows and revealing his true feelings (literally tearing apart the dove), the wife is already falling off the balcony

Her hair is fluttering in the wind. The apple fucking splatters on the ground this whole sequence is so visceral I'm spinning it around in my mind. Kazui views his truth telling as a violent act, the killing blow.

#milgram #capri talks #kazui mukuhara #Cat #I made a gif for this are you happy (I love this part way too much I would've made it anyway) #I have... thoughts about this which Scare me but. For now... I am going to assume in good faith that this must be taken figuratively and #symbolically because that's the most obvious interpretation right. right guys??? *one fear* #*looks at the voice drama which starts with how he's never gone up against a woman as strong as him until kotoko* #*looks at the line 'it’s generally the heavier person who ends up winning.'* #*looks at that one frame in Cat at 2:33 where he's holding her back* #DONT MIND ME IM JUST DELIBERATING I want him to be innocent I want things to be simple but I'm so worried of being hoodwinked-- #--when the guy literally emphasises sleight of hand tricks and magicians and disappearing acts in his MV :'D #when he literally has a 'son of man' painting reference (man w/apple in front of face) #I am going to stop talking or else I shall combust into a million pieces #analysis #described

[transmascutena]

[image description: a screencap from revolutionary girl utena, of two framed pictures on a wall. they show tsuwabuki and wakaba in their black rose outfits, respectively. /end id]

just rewatched the end of the black rose arc in a discord server and was wondering about the pictures on mikage's wall from the duels. who took them? mikage certainly wasn't there. and then i thought about it for another second and it clicked that it was probably akio. i mean, the dueling arena is a projection in his room, it makes sense he would be able to see these dueals and capture them on film.

[image description: a closeup of a framed photograph of utena at her parents' funeral /end id]

and THEN i thought about it a little more and oh. that means he probably attended utena's parents' funeral. because there is also a picture of her that day on the wall. and it makes sense. akio was there the day before after all.

and we know he likes taking pictures:

[image description: two screencaps of akio behind a camera /end id]

#more of akio framing the narrative/literally or figuratively being behind the camera #i want to make a post compiling all the instances of pictures and cameras in the show. there's so much interesting stuff with them #revolutionary girl utena #analysis #akio #m

[raayllum]

Anyway earlier this month I said I had a lot of feelings about how visual framing is used in Viren and Harrow's relationship so time to talk about it, i.e.

Harrow is almost always framed as being above Viren

Now, some of the meaning behind this is obvious. In spite of their longterm friendship, the fact that Harrow was king and had the final say, and Viren very much did not (and likely went from being Harrow's closest advisor to second fiddle with Sarai, and then back again) is something that Viren concerns himself a great deal with: "My whole life I've been chasing after things I didn't have. Status, influence, power" (4x02). Due to this difference in status, Viren's plans are suggestions, whereas Harrow's word is law, and Viren each time has to present his ideas accordingly, and the framing reflects that:

We see this desire to be close to Harrow and power more generally bleed over into other areas of Viren's life, such as his obsession with the mirror. Viren assumes the proximity to power begets or informs importance/worth, and that because "the mirror was kept closest to where [the Dragon King and Queen] slept, it must be important."

This of course is a mirror (ha) to his image of himself, in which, "I thought you were going to be something special, something important!" (2x02) and exactly why Harrow's words of, "I see the problem now: it's that you believe you are special, above the laws of this kingdom."

His happiest moment with Harrow then arguably, within the text of the show, is when Harrow invites him up to be on equal standing (and also why said portrait is what inspires Viren to offer himself up as Harrow's "equal" - amid a self-importance kink, of course). When they were 'brothers', and why the dissolution of their bond undoes this framing entirely.

It's not surprising, then, that his psyche reenacts the Happy moment with the portrait with an even sweeter, cherry on top of not just Harrow's forgiveness, but his love, acceptance, and admiration, in Viren's dark magic dreams.

Symbolized by Harrow lowering himself in order literally lift Viren up from a kneel, to standing as equals, and into a hug (+ acceptance and a mutual assurance of familial connection/importance).

(Bonus points for Harrow's sword being changed into Viren's staff immediately after their hug, btw.)

But just like 2x05 with the portrait, this moment of reconciliation and happiness even inside Viren's mind cannot last forever, as he's pushed and stumbles into an even lower place than on his knees, and this part of the nightmare is over.

This is also, of course, the most overt framing to display power and control vs feeling powerless or helpless.

That said, while Harrow above and Viren below framing wise is the most consistent framing we see for the two (besides just regular shots with things like pillars and titan hearts in between them) are the ones where Viren is framed above... and it's not usually good.

We see the Standing to Kneeling to be on level with Harrow to Standing again progression as Viren makes his case regarding Zym. Like before, I think this serves a few purposes.

Viren standing at first when Harrow does not reflects their attitudes, specifically Harrow's relief that it's finally over and Viren's suspicion that it's not

Viren then moves to be on Harrow's level and this communicates how he's pleading / trying to have Harrow understand his point of view by bringing himself down to Harrow's level. This, of course, is ironic, because by doing so, Viren is bringing Harrow down to his level in terms of morality

Viren straightening up again indicates assertiveness, being active rather than passive, and perpetuating a path that offers agency, safety, and control, horrible as it is.

And it works, since as we know, Harrow goes along with and agrees to it in spite of his reservations.

However, the most interesting flip of "Viren looking down at Harrow instead" has always been this one at Harrow's funeral in 1x04, as Viren is attempting to rush things along and take his former's friend throne. All the power is there within his grasp as he stares impassively into the fire, and yet it rings hollow and reminds him ("In his final hours, he called me brother") of precisely what lies he's telling not only the populace, but also himself.

Because the only way for Viren to look down on and at Harrow was for him to be dead.

#varrow #virrow #tdp viren #tdp harrow #king harrow #viren #analysis series #it's about the Framing #analysis #tdp meta #tdp #the dragon prince #parallels #multi #s1 #s2 #s3 #s5

[the-oaken-muse]

I watched Good Omens for the first time last week, so I'm a bit late to the party, but I wanted to talk a little bit about the Metatron's offer to Aziraphale.

On my initial watch, I definitely got "Azula tricking Zuko to come back to the Fire Nation" vibes and after a few rewatches as well as a refresher on that episode of ATLA, the parallels are even stronger.

First we have the Metatron and Azula:

They both show up suddenly with grand promises, telling Aziraphale and Zuko exactly what they want to hear. You can come Home. You can come back to Heaven, and so can Crowley. We need you. We want you.

They both emphasize that they are delivering good news, really hyping it up. They are so kind and understanding. Take all the time you need.

But at the same time that they are warm to their target, they show open disdain to their closest ally when their backs are turned.

Next, we have Aziraphale and Zuko:

At this point, Zuko still believes in the vision of the Fire Nation, he believes that they are honorable and right in what they do, and Aziraphale believes that Heaven is the epitome of goodness, truth, and light. The word "indoctrination" comes to mind. They've both been burned by the people they look up to, but are blinded by their ideals.

They're extremely loyal to their side, and there's more than a little denial at play. When Crowley and Iroh express distrust and a desire not to go, they get defensive, they lash out. You don't know, you don't understand.

Finally, we have Crowley and Iroh:

They truly care for Aziraphale and Zuko. They're always there for them and would do just about anything to protect them.

They are a bit more worldly than their companions and are suspicious of the Metatron and Azula's intentions. In our family, things aren't always what they seem. Heaven and Hell are both toxic.

They both receive the same invitation to join the others, to go Home, to go to Heaven, even though the main focus is on Aziraphale and Zuko. The parallels diverge with these two, however: while Azula doesn't really care whether or not her uncle joins them, as long as she gets Zuko, Crowley was never meant to accept the offer. The Metatron draws Aziraphale away from Crowley to talk, they are separated as soon as possible, and a wedge driven between them.

At first, Iroh wasn't going to go, but changed his mind at the last minute. Crowley does not change his mind.

With how similar these two scenes are, I can't help but speculate on what this means for Good Omens. Is this just an elaborate way of kidnapping Aziraphale? Are the angels taking pointers from their last attempt and taking a more subtle, calculated approach this time?

Do they actually want Aziraphale on their side or are they just trying to get him out of the way?

#good omens #good omens season two #good omens s2 #avatar the last airbender #analysis #long post #yes hi #i'm coming in with the spicy hot take that heaven is the fire nation #i will not be taking any criticism at this time #they way some of the screenshots have the same framing between the two shows makes me really happy for some reason #it's late and i need to go to bed but i hope this makes sense #holds up the two scenes #they're the same picture #go2 #good omens season 2 #good omens spoilers

[skz-miroh]

I need someone to analyse Charles’s facial expressions when Edwin tells him he’s in love with him because he’s so expressive but its so obviously not shock

#like I need a frame by frame breakdown analysis of this #charles rowland #edwin paine #edwin payne #dbd #the dead boy detectives #dead boy detective agency #paynland #fully believe that charles already knew like this was no surprise to him #jayden revri explain your acting choices

[comradekatara]

i read somewhere that, after the war, zuko at least hands hama over to the swt instead of keeping her in fire nation prisons 'till the end of her life. Which is nice, I think. But I'm also curious as to how that would work out.

Most notably: how do you think it'd go down if she were to meet Pakku? given they both have some sort of connection to kanna's life, the idea of them being forced to interact even once entertains me very much. like, old waterbending master pakku—white lotus member—who has grown up in a patriarchal society and actively forbidden women from training to fight, under the precedent they are somehow ontologically weaker, fragile, and belonging in the healing huts... THAT guy, meeting his former fiancé's old friend: (or current wife's if you go by canon, which, eugh) A woman who not only fought in the front lines but ended up becoming one of the most skilled, creative, and deadly waterbenders in history. How would he react when finding out that a woman came up with blood bending? How badly would Hama mind-fuck him?? Because I'm confident they'd hate each other's guts-- no way she'd tolerate him,,,

And on a similar note—how would Kanna feel upon reuniting wirh Hama and discovering what she put Katata through, in your opinion? Idk, I'm just full of puppetmaster thoughts today. Hama is incredibly interesting and I wish she wasn't handled so much like a Halloween Specisl creepy witch, (even though katara herself is handled and written pretty well in this episode, i think. but i digress.)

i mean obviously i think about this all the time. i personally think that zuko hands hama over to the swt upon katara's request, and she and aang personally deliver her on appa (sokka is not there, for the very deliberate reason that if he knew what they were doing he would very vocally disapprove). and so katara is sort of retraumatizing herself by doing this, but she also feels like it's necessary specifically because she needs to be able to look hama in the eye and tell her why they're not actually the same (especially now that she actually did bloodbend someone in cold blood). katara has the love and support and safety to step back from her anger and her pain and her grief and hang onto her own humanity and allow herself to be the bigger person even in moments of abject rage and acute trauma, and hama doesn't. hama is a victim of her circumstance, and that's part of what makes her so uniquely terrifying to katara, because katara has that same capacity to make people hurt, she has the same tools at her disposal, and she has the same justifications to exercise that power. but unlike hama, she hasn't actually been pushed past her limits. sometimes she can see the cliff's edge, and sometime she even teeters on the line, but hama was fully just shoved off without a parachute, and that's really what separates them above all. i think katara should be allowed to acknowledge that and forgive herself for that, even if hama doesn't directly apologize to her (although in my mind she does, and it's not enough, but it's also so much more than katara ever expected to hear). even if it is too late for hama, katara deserves to heal.

frankly, i don't really give a shit about pakku or his reaction to hama. i also don't actually think that he thinks woman are ontologically incapable of being talented waterbenders of whatever; he's a pretty worldly guy, the reason he clings to these traditions isn't born of the belief that they're grounded in logical evidence like sokka's is, it's because he believes in the preservation of a system that benefits and valorizes him. pakku thinks katara belongs in the healing huts because he comes from a culture that dictates that women belong in the healing huts. like, he might also subscribe to the bioessentialist logic that women are better healers and men are being fighters, but that honestly doesn't really matter, because (unlike sokka) his epiphany lies not in the fact that woman can fight, but in the fact that his role in upholding these systems has actively driven his loved ones away due to his cruelty. he decides to be kinder, to women and in general, because he realizes that being an asshole has negative consequences. but frankly, who cares what he thinks of hama. realizing that your sister tribe in the south deserves aid and protection after being subjected to a century of genocide is kind of too little too late imo. unlike katara, sokka, aang, or kanna, who can approach this situation from the perspective of being a genocide survivor who even remotely understands hama's trauma, pakku really has no place in this conversation to me.

as for kanna...... god. hama/kanna reunion is genuinely one of the most heart-wrenching concepts to me in all of atla. as a sidenote, hama/kanna fanfic goes so hard every time. there's a total of like 15 fanfics for them on ao3 (last i checked) but they're all sooooooo. fucking delicious. tide locked........... ugh. anyway. i cannot fathom kanna's reaction upon learning that her closest friend once upon a time is not only alive, but also a convicted felon, for crimes including but not limited to manipulating her granddaughter, violating her (and sokka's) bodily autonomy in cruel and perverse ways, and forcing her to participate in that mode of violence in a way that traumatized her forever. even if you don't read them as former lovers (although it is indubitably better that way) it's so gut-churning. kanna lost so many people over the course of her life, and to learn that one of them has returned but in the worst way possible must be mind-boggling and distinctly unreal. like how do you even process that. first, how do you process how much pain she must have went through to become the kind of person who is capable of doing this, and then, how do you process the knowledge that the person you once loved most in the world irreparably hurt the person you now love most in the world? obviously she would always prioritize katara's safety over anyone else's no matter what, but god. kanna has led such a fascinating and impossibly difficult life, and it's not over yet.

#kallianthi #asks #analysis #postwargaang #hama #katara #pakku #kanna #hamaxkanna #hama&katara #also i didn't mention it in the post itself bc i've talked about it before but yeah i very much agree that i wish hama had been framed #differently because i do feel like making her into a cackling witch kind of undermines the whole point of the episode #she's someone who is deserving of our empathy and understanding despite her violence and by reducing her into a caricature #we lose that nuance #but otherwise it's such a fascinating episode.... #kataraaa.... katara i love you katara <33333

[dwreader]

Father Knows Best Part 1

Why is Lestat almost always in full dress at home while Louis is in casual loungewear? There are multiple scenes especially in the second half of the season where it looks like Lestat just got home from work (even though he's a jobless Ken) while Louis has been lounging at home all day. Lestat does go out to hunt so its possible he feels the need to dress up although the full 3 piece suit is certainly not necessary but even when Louis is gaslit into hunting again he is still never seen in a full waistcoat and tie like Lestat. After episode 4, Louis is mostly seen in shirtsleeves, sweaters and loose blouses. The only times he wears a full suit and tie are when he meets Grace for the last time and when meeting with an authority like Tom.

But I think Lestat's choice to maintain his wardrobe even at home is about projecting authority and control more than practicality.. like he really doesn't need to be dressing up to kill victims but he is always without question dressed like the man of the house, even when playing chess in the living room. The patriach cannot uphold his authority unless he dresses the part.

Looking at his oufits progression during his 6 years of begging, he first ventures to the house in full suit and tie but is soundly rejected by Louis. Then he appears on the street in casual sports wear appearing to be conversing with Louis and Claudia on a more equal basis but he is once again rebuffed but this time by Claudia while Louis stays silent. When he makes his final case to be let back in the house, he is dressed more casually than we've ever seen him before as a gesture to Louis and Claudia that he's willing to be on a level with them... except not really, cause the minute he's let back in, he's immediately back to dressing like father knows best. You do not question the authority of a man dressed like that even when he pretends to go along with the new paradigm of the "lambs herding the beauceron" but we all know that's a lie that he never intended to honor and what gives it away from the start is the moment he comes home from "killing" Antoinette seemingly obeying the rules dressed like THIS.

This a Beauceron and his little lambs are the ones dressed in soft pjs. He is herding them no matter what "rules" they agree to in that house.

#iwtv #also the short sleeves still emphasize his much larger frame #where short sleeves on louis reveal his dainty little torso #costume analysis

[king-crawler]

I somehow haven't seen every horrible frame from this scene yet (a collection <3)

RARE TURBOS... i especially like the first one (The Green Goblin)

THIS IS SCARY.... Nice "Demonic Head Shake" From TVtropes Dot Org

But also the GLITCH BODY HORROR. <3333 Do you see it. It looks like pixels are glowing underneath his skin, and then they erupt outwards. And the pure red glitching in the 2nd one... Is that him wincing in pain .. ? DO YOU THINK IT HURTS... ?

One in the same...

There's something so satisfying about seeing KC completely lose his cool- No more sappy and misleading fronts. He's completely overtaken by hatred. Just showing the world the monster he is. The monster he's always been.

And the way his tailcoat flows in the wind, the red underlighting from the brake lights, it makes him look so VILLANOUS. This composition is SO fucking cool

The glitching has become so intense by this point. He doesn't even resemble a person at points. He's a mockery.

BALD !?? BALD BALD BALD BALD BALD BALD BALD BALD BALD

#🎬 #analysis #turbo is such a fucking cryptid #A RARE SIGHTING #a MENACE #there is so little footage of him #you have to look frame by frame #king candy #turbo #screenshot #wreck it ralph #fav #Sorry i might actually use this entire post for the script in my video GRAAGHAA #This is way too fun

[zvaigzdelasas]

I think marxist materialism can be summarized as "a denial of the existence of unembodied universals"

#in contrast to postmodernism which just takes the universal as a whole as its object of skepticicism #marxism allows for the existence of determinate universals - but not universal universals #determinate universals are very important for analysis of a totality #you need the plain in which the universilization takes place! #*plane autocorrect #easy correlary from this framing: every actually existing universal needs a determinate form of embodiment