#if you want to be a filmmaker the first thing you do is watch a lot of films. fucking obviously.

[blessyouhawkeye]

every time i see one of those jokes making fun of actors/directors for naming obscure or foreign films as their favourites it infuriates me, not just because those jokes often come with a xenophobic or anti-intellectual undercurrent but also because yeah. of course those people have seen more films than you. they're at the top of their field, of course they have a deeper fount of knowledge and love for that field than the average person. would you expect an author to have not read a lot of books, or a musician to not really listen to music?

#if you want to be a filmmaker the first thing you do is watch a lot of films. fucking obviously.

[devilsskettle]

i feel like i’ve been WAITING for the other shoe to drop wrt people’s opinions about watcher for this very reason. not that i think the reaction is completely not understandable but the greater the parasocial relationship, the greater the fallout as soon as public opinion shifts. you don’t have a relationship with these people they’re just content creators, chill

#ready to see all the people coming out of the woodwork to say how they’ve never liked watcher/unsolved/etc #and act like it’s ‘cringe’ now that their fanbase feels ‘betrayed’ #it’s great to have a fanbase but parasocial relationships will bite you in the ass every single time #it’s interesting too though because i’ve seen watcher have a LOT of support as they’ve tried to build something separate from buzzfeed #so this is the first time they’re getting real pushback about a decision they’ve made wrt shifting their platform/expanding their brand #so ig we’ll have to see how they react moving forward #but it’s soooo interesting to see how enthusiastically people dump on buzzfeed #AND how many people dump on youtube and how over the years so much of its functionality has been stripped away #how many ads you have to sit through. how much sponsored content there is now. etc #but when they try to do the same thing with youtube that they did with buzzfeed it’s like how dare you not lick their boots #because if you lick their boots and we lick their boots we can watch stuff for free #anyway. #even if you don’t any to say it’s a bad business decision. it’s not like there’s not precedent for it #1) the move away from buzzfeed was successful and 2) what about the dnd shows or whatever #don’t you guys watch those dnd shows that are ‘behind a paywall’ #don’t you guys have netflix hulu disney hbo amazon etc ad nauseum that are actually owned by billion dollar corporations #don’t you guys get on your high horses about supporting independent artists all the time #it’s interesting that people will profess to be such big fans!!! and feel like they’re friends!!!! #but how dare they think their work might be worth paying for #idk. idk. it’s entitlement though #sorry for the rant i’m ALSO not trying to blindly defend a bunch of people i don’t know #but you guys are being soooo fucking annoying about it lol #anyway i’m still waiting to see what their response is going to be from here before jumping to conclusions #also to be fair i am biased to be lenient about decisions made by independent filmmakers vs big studios etc #like everybody freaking out about the ai art used in late night with the devil. who cares honestly #‘they should’ve paid a real artist!!’ idk maybe their budget didn’t cover that #i don’t want it to become the industry norm but at the end of the day i would rather see indie shit getting made then only seeing #the big studios (who don’t have equitable practices anyway!!) making shit #but that’s another conversation. just to be transparent about my viewpoint on this kind of thing #maybe controversial but also can’t we have nuance. for once.

[dimonds456]

Nah, nevermind, I don't feel like I can properly comb through everything on my own. I'm just gonna get shit wrong, miss things, or otherwise get yelled at.

I'm just gonna rb stuff.

Read the tags as I go off there but. yeah.

Thanks to the people who helped point things out to me. As a bit of an explanation on my own end, I had just woken up lol. I was groggy and that was the first thing I did before even getting out of bed. I really should have waited, but curiosity got the best of me, so.

Whatever.

#this is about james s-merton btw. censored to keep this out of the main tags #yeah feeling like shit rn #not like i didnt have it coming #i am a gullible person and I know i am #i tried to be critical about james' apology and i only managed to notice two (2) things while actively watching #and as a filmmaker I DO still relate to the telos thing #but i think that relatablity is making it hard for me to pick out lies during that section and i HAVE noticed he lies throughout the video #I'm just not the person to properly call him out on it #i will say though that his whole 'memory issues' thing is ACTUALLY making me mad #mfer *I* have memory issues you don't get to use that as an excuse #especially since he talks about stuff on stream so much #if it really was a thing A) why is there no evidence for it? and B) why has he never talked about it before? #I didn't believe him for a second even though- when i first saw it- i REALLY wanted to #but now that i've had time to think about it it's just pissing me off #you don't get to pretend to be disabled to try and win brownie points. #even if he DOES have memory issues that DOESNT MEAN copy+pasting is suddenly okay!? #the other thing i noticed up-front was just the monetization thing- which i had admittedly forgotten about by the time I made the post #(again I had just woken up) #and that was super fucking shitty #while i was at work thinking about this i rewatched Todd in the Shadow's video and a vid debunking the apology (drama mama i think?) #and i kinda wanna rewatch now that i've had a refresher but i also dont wanna give him more money #so i won't #like i said im just gonna reblog stuff #fuck you james. genuinely. it's OVER get OFF the internet. #if you DO wanna stick around then DONT MONETIZE IT. #dimond speaks

[pearwaldorf]

I hate that you can't see a tweet thread anymore if you're not logged into Twitter (as a gesture of disrespect I refuse to call it by its rebranded name). Here is a copypasta of a thread from Dan Olson, a Canadian documentary filmmaker, expanding upon camera quality, the guilt trips Somerton used to goose his Patreon subscriptions, and how the best tools will never make up for lack of dedication or patience. I have added clarifications in [[double brackets]] where I feel it is necessary.

START OF THREAD

Okay, so, back in April I snapped at James in reply to a tweet that was linking to this video (which James has since delisted but not deleted) and I want to talk about the full context of that but I don't want to make a video, put your beatdown memes away. [[The video has since been deleted. I can see the title of the video is "Maybe the end (not an April Fool's Day thing".]]

The first bit of context is that I initially got keyed into James to fact-check his claims about indie filmmaking in Canada. As a filmmaker the entire Telos venture was immediately obvious as a juvenile fantasy dreamed up by someone with no idea how to make a movie.

Just wild claims about their plans that weren't worth debunking because they bordered Not Even Wrong. But in watching one of these pitch videos I noticed that he had a $4000 current-gen camera in the background as a prop, and that seemed both pretentious and weird.

You don't use your best camera as a prop, you use your second best camera as a prop. So being an obsessive weirdo I needed to know, and I watched his BTS stuff until I spotted his main rig, a $6000 camera with about $1000 in accessories.

Now, these in isolation are unremarkable because his Patreon at the time was bringing in ~$8000 per month, his channel was a full on Business business, and so investing in some professional equipment of that level is maybe a bit indulgent but justifiable.

What was weird is that he doesn't shoot multi-cam, doesn't shoot outdoors, doesn't shoot on location, and in a studio the two cameras kinda really step on each others' toes. Basically if you already have one and don't need a B cam there's no reason to get the other.

Again, on its own, this says nothing, it's just indicative of poor financial decisions, maybe impulsive purchasing, Gear Acquisition Syndrome. Biblical sins, but not crimes.

Paired with the constantly inflating fantasy scope of the Telos films it was clearly an expression of a very, very common bad filmmaker habit of "if I just get the right gear then my movie will basically make itself" Buying stuff because it feels like progress.

At the end of February he tweets "I want to start shooting anamorphic" and then three weeks later in March he posts the worst, out of focus, under-exposed "I just got a new lens!" video I've ever seen, showing off his trash-covered bedroom.

Based on what's available for his cameras and the lead time, that's enough time to get a Laowa Nanomorph or Sirui Saturn from B&H but not enough time to get a Great Joy from the UK or a Vazen from China. And with the flaring blah blah blah, $1300 lens.

Again, [gear acquisition syndrome] is not a crime and these lenses are budget options. Bit of a pointless impulse purchase since he only used it for the Showgirls video. But this is what he was doing just a few weeks before that above video came out: effortlessly impulse purchasing lenses.

James has (had?) a habit of regularly, aggressively driving viewers to Patreon by claiming that videos were getting demonetized. While tacky, it is something a lot of queer YouTubers have dealt with, so there's precedent there. But people were noticing he did it a lot.

Mid-March he humble brags about needing to work so hard to make 6 videos in April because he has over-booked sponsorships.

Then March 29th James posts this whole incel screed on Twitter about how sex work should be "subsidized as a mental health service."

[two image descriptions.

1. "For the majority of people sex (and human contact) can be imperative to a healthy state of mind. A kind and talented sex worker can make someone feel wanted for the first time in their life. I know sex workers who have pulled people back from suicide just by being there for them." 2. "Not only should (sex work) be legal, but it should be subsidized as a mental health service."]

He spends several days getting absolutely *roasted* for this, just dragged across the pavement and read for filth, and doubles down in the replies the whole way.

So this is the context immediately surrounding James waking up on Friday, and posts the above video and the below tweet.

[image description: "We just got the lowest Patreon payout we've gotten in well over a year. Like, a "maybe we need to rethink things" kind of amount... NOT an April Fools Day thing btw. But I don't know if we'll be making videos much longer."]

Now, this unfolds in kinda two directions. The first is that I'm convinced he was just lying about this income shock in the first place.

There's a million theoretical edge cases about what maybe happened and if maybe he just misunderstood the data or saw a glitch and panicked, maybe one of those happened, I don't believe it, I think he just lied because he was salty about getting dragged and felt owed a win.

A big tell to me is that he doesn't blame Patreon. He says he doesn't know what happened, but let's be real, Patreon screws up all the time, they're the first people anyone blames if anything confusing happens, just as a reflex action, even if it's completely not their fault.

The only reason to not blame Patreon is if you already know that it's not their fault and that any investigation on their part might reveal embarrassing details.

Instead he indirectly blames his viewers for not watching enough, not sharing enough, and not turning on auto-renew.

So regardless of the unknowable truth, this segues into the second, far more offensive direction of the messaging itself. "I don't know if we'll be making videos much longer." "Maybe the end" He explicitly framed this as an immediate existential threat to his channel.

In the video he is vague about everything, leaves a ton of hazy room for plausible deniability on how long the channel can keep going, but the messaging is "I need more patrons right this minute or my YouTube channel is over."

He repeatedly evokes all the "fun stuff" they had planned that would never see the light of day if this didn't turn around right away.

And his audience received this message loud and clear. Tons of people making far, far, far less than him left very heartfelt messages about digging a little deeper to subscribe or up their pledge or unsubscribe from other channels to move their pledge to his.

1200 new patrons in one day.

Since I simply don't believe the income shock was real in the first place that would put his post-"Maybe the end" Patreon income at around $10,000 per month. US. Add YouTube income, he's spent the last seven months making around $18,000 per month.

I have seen creators scale back their capabilities to the bone purely to keep making videos for the love of just, like, making stuff even as their funding evaporated and they needed to go back to a desk job to cover their bills.

You'd have to be so outstandingly reckless with your finances as a channel that a one month spook leads immediately to "channel over, sorry about all the fun stuff we won't get to do with you, our patrons, specifically because you, our patrons, aren't giving us enough money"

And not a spook where you then spend a couple weeks crunching numbers. Oh no. A shock so violent where less than two hours later you're weeping on camera about the channel being over.

Three weeks later he brought a brand new Sony FX6v for $8000 CAD to add to his pile of cinema cameras despite the fact that he was, but scant moments earlier, in such a precarious position that a single bad month would kill his channel.

He stole your money, and for that I'm profoundly sad and angry. That's why I snapped at him in April. I'm sorry I couldn't give you the full context then, and I'm sorry if that anger upset you.

END OF THREAD

#james somerton #dan olson #hbomberguy #jesus christ tumblr #it won't let me format things the way i want #because this website is sometimes a piece of shit

[odinsblog]

“I first started noticing the journalists dying on Instagram. I'm a journalist, I'm Arab, and I've reported on war. A big part of my community is other Arab journalists who do the same thing.

And when someone dies, news travels fast. Recently, I pulled up the list that the Committee to Protect Journalists has been keeping and looked at it for the first time. There are 95 journalists and media workers on it as of today.

Almost everyone on it is Palestinian. Scrolling through, I started to get angry. These were the people carrying the burden of documenting this whole war.

Israel is not allowing foreign journalists into Gaza, except on rare occasions with military escorts. These people's names are being buried in a giant list that keeps growing. What I want to do is lift some of them off the list for a moment and give you a glimpse of who they were and the work they made.

I'll start with Sadi Mansour. Sadi was the director of Al-Quds News Network, and he posted a 22-second video on November 18. That was a report from the war, but it also gave me a picture into his marriage.

Sadi's wearing his press vest and looks exhausted. He's explaining that cell service and the Internet keep getting cut off, and it's often impossible to text or call anyone, including his wife. So they've resorted to using handwritten letters to communicate while he's out reporting, sending them back and forth with neighbors or colleagues.

He ends the video with a picture of one of these letters from his wife. In it, she writes,

‘Me and the kids stayed up waiting for you until the morning, and you didn't come home. We were really sad.

I kept telling the kids, Look, he's coming. But you didn't show up. May God forgive you.

Come home tomorrow and eat with us. Do you want me to make you kebab or maybe kapse? Bring your friends with you, it's okay.

And give Azeez the battery to charge. What do you think about me sending you handwritten letters with messenger pigeons from now on? Ha ha ha.

I'm just kidding. I want to curse at you, but we're living in a war. Too bad.

Okay, I love you. Bye.’

A few hours after he shared that letter, Sadie and his co-worker Hassouna Saleem were at Sadie's home, when they were killed by an Israeli air strike that hit his house.

His wife and kids, who weren't there, survived.

Gaza is tiny, and the journalist community is really close. Reading the list, you can see all the connections between people. Like with Brahim Lafi.

Brahim was a photojournalist, one of the first journalists to die. He was killed while reporting on October 7. He was just 21, still new to journalism.

On his Instagram, you can see that in his posts just a few years ago, he was still practicing his photography, taking pictures of coffee cups and flowers. Then he started doing beautiful portraits and action shots. You can really feel him starting to become a journalist.

Clicking around on Instagram, I found a tribute post about Brahim from his co-worker Rushdie Sarraj. In this photo, Brahim staring intently at the back of a camera, his face lit up by the light from the viewfinder. He looks so young.

The caption reads, My assistant is gone. Brahim is gone. Rushdie himself was a beloved journalist and filmmaker.

And I know that because he's also on the list. He was killed just two weeks after Brahim. I read the tribute post to him too.

I saw this over and over again. Journalists posting tributes, who were then killed themselves soon after. And a tribute goes up for them.

And then the pattern continues.

Thank you.

Something else I saw over and over on the list, journalists later in the war who had become aware that they could be making their last reports. They'd say it at the beginning of their videos. And those were the hardest to watch, especially when it was true.

One video like that was posted by Ayat Hadduro. Ayat was a freelance journalist and video blogger. Her videos before the war covered a wide range from what I can tell, interviews about women in politics.

She even appeared in a commercial for ketchup-flavored chips. She clearly liked being in front of the camera. Once the war started, Ayat's pivoted to covering bombings and food shortages.

On November 20, she posted a video report from her home. You can hear the airstrikes hitting very close to where she is. It's scary.

‘This is likely my last video. Today, the occupation forces dropped phosphorus bombs on Beit Lahya area and frightening sound bombs. They dropped letters from the sky, ordering everyone to evacuate.

Everyone ran into the streets in the craziest way. No one knows where to go.

But everyone else has evacuated. They don't know where they're going. The situation is so scary.

What's happening is so tough, and may God have mercy on us.’

She was killed later that day.

Targeting journalists, in case you didn't know, is a war crime. So far, the Committee to Protect Journalists has found that three of the journalists on the list were explicitly targeted by the IDF, the Israeli military. Investigations by the Washington Post and Reuters, Human Rights Watch and the United Nations have also raised serious questions in these three cases.

And the Committee to Protect Journalists is investigating 10 other killings. When we reached out to the IDF for comments, they said, quote, the IDF has never, and will never, deliberately target journalists. That's the answer they always give in these situations.

Meanwhile, dozens of seasoned reporters have fled Gaza. Journalists who worked for Al Jazeera, the BBC, the New York Times, the Washington Post, Reuters, Agence France-Presse. So many media offices were demolished in Israeli airstrikes that the Committee to Protect Journalists stopped counting.

It's not just individual lives that have been destroyed. It's an entire infrastructure.

Thank you.

The name on the list that was hardest for me to look at was Issam Abdullah, because I'd crossed paths with him once. Issam was a Lebanese journalist, a video journalist for Reuters for many, many years. He had just won an award for coverage of Ukraine.

I'm Lebanese and still report there sometimes, and I'd worked with Issam a couple of summers ago. He helped me film a sort of random story in Beirut. I was interviewing this entrepreneur who had started a sperm freezing company after an accident where he spilled a tray of hot coffee on his private area, burning himself.

I know, ridiculous. It was a really silly shoot. Right after we said cut and started to rap, Issam started this whole bit about being in his late 30s, reconsidering his own sperm quality and everything he now realized he was doing to hurt it, and no one could stop laughing.

It was a really good day that felt good to remember and to remember him that way. Issam was killed by the IDF on October 13. His death was one of the three that the Committee to Protect Journalists has identified as a targeted killing.

He was fired upon by an Israeli tank while standing in an empty field on the Lebanon-Israel border with a small group of other journalists. Everyone was wearing press vests with cameras out. They were covering the Hezbollah part of this war.

A few other journalists were injured in the attack, which was captured on video. The IDF says they were responding to firing from Hezbollah, not targeting the journalists. But multiple investigations, including by Reuters, the United Nations, Amnesty International and the AFP, found no evidence of any firing from the location of the journalists before the IDF shot at them.

The journalists in the group and video footage confirmed that there was no military activity near them. I had only met Issam once, barely knew him, but it affected me so much when he died. I know that he understood the risks of his job, but somehow it still felt so random and unfair that he would be struck down like that, following the rules, wearing his press vest and helmet, and a pack of reporters on a sunny day in an open field.

I find myself thinking about him all the time. His last Instagram post was commemorating another journalist, this iconic reporter Shereen Abou Aql who had been killed by the IDF. When I first saw that post in October, I thought how ironic because a week later, Isam also was killed by the IDF.

But then, after spending time reading the list, I realized how common this had become. I still haven't finished going through the list and looking up the people on it. I keep finding things that stick with me, like the funny way this one radio host would cut off a caller who was rambling on for too long.

A tweet from reporter Al-Abdallah that quoted Sylvia Plath. It read, What ceremony of wars can patch the havoc? I'm going to keep going down the list, even though this story is over now.

Just for myself. My own way of bearing witness. Which is, in the end, all that these journalists were trying to do.”

—DANA BALLOUT, The 95. Dana sifts through a very long list—the list of journalists killed in the Israel-Hamas war, and comes back with five small fragments of the lives of the people on it. Dana is a Lebanese-American, Emmy-nominated documentary producer.

#politics #dana ballout #the 95 #palestine #israel #war crimes #gaza #committee to protect journalists #🇵🇸 #brahim lafi #shereen abou aql #issam abdullah #ayat hadduro #rushdie sarraj #hassouna saleem #sadi mansour

[coeurify]

ok but what do you think about making a sex tape with ellie 🧍‍♀️

an: this has been reworked over and over since this request came in in march… so enjoy! its very lovey dovey and sm plot sorry :3

warnings: 18+. filming. jackson!ellie. fingering and oral!r receiving. mostly lovey but some teasing and rough language :3 ellie is obsessed and lovesick and so is reader soooo they make a sex tape. unedited gimme time.

When Ellie first brought up the idea, you had recoiled into her old beat up couch, scoffing as she waved the old camcorder around, a shiteating grin on her face.

“I doubt that thing even works El,” you shrugged your shoulders under the blanket you had stolen off her bed. It wasn't unusual for you to hole up in her small homey garage while she was on patrol.. but what *was* odd was her little.. Souvenir from this particular trip.

“C’mon babe,” Ellie pouted, “Let me try on you..” she wiggled the little camcorder, slipping her hand into the attached grip, flipping open the small screen. Despite your complaints that there was no way it worked, Ellie just could never be wrong. Of course she knew you would fight back, and so she had made sure she fished some batteries too. Of course they came from Maria, the cost three days of stable duty.. But it was worth it for the immune woman, who ducked her nose down and watched the screen flicker to a slow start.

The quality was no better than that of what you could expect from a decades old camera, the film grainy and muffled, each corner covered by symbols Ellie didn’t really understand. But it was no roadblock in the trek of her wants. She smiled when your hands immediately came to slap over your face, voice serious behind your palms as you spoke, “put that down.”

Eventually however, you got a little used to Ellie’s newest fixation. The little hums she made were always a dead give away that she was filming you. During a video game tournament against Dina and Jesse, squished so closely to the two on the floor of the garage that you literally bruised the taller man during a particularly aggressive round of a fighting game. When you were trying your best to compete against your girlfriend’s art skills, tongue poking out the corner of your lips as you worked on a very detailed stick figure that dawned pointed down eyebrows, a large frown and red pencil hair. Even just when you were organizing Ellie’s closet for her, sorting through the tens of sweatshirts with a judging pout on your lips at the mess.

Each time you heard the distinctive sound of El’s attempt at holding back laughs, a small little choked up ‘hmm’ sound. You usually turned your head, quick to flip off your girlfriend-turned-filmmaker. But by the fifth time of catching her smiling behind the little object, you just let her. Whenever you could see her a little less tense, you took it.

Even if that meant starring in all of her little five second shitty clips. Her excuse always, “Just something to look at when I miss you.”

In some ways it made you feel weak legged, slightly lovesick by the thought of Ellie loving you so dearly she just had to steal little memories of you. Every small grin that broke onto freckled cheeks wherever she filmed coaxed you into the haze built up by her new hobby. You became so covered in adoration soon that you resorted to tiny only half mad eye roll when the click of the camera sounded.

Small clips turned into Ellie’s free hand wrapping around your bare waist as you looked in the mirror of her bathroom, the camcorder pressed near your cheek, the auburnette on the other side. You wiped the condensation from the glass, the room still slightly foggy from your shower. “You are not filming me out of the shower,” you huffed. Ellie didn’t answer, the familiar sounding hum stopped only when she pressed a kiss to the base of your neck, lips pulling up into a smile against the skin. “Won’t point too low..” she promised. “You just look so pretty..”

That time, the camera had been closed and discarded on a random bedside table as the two of you stumbled across her floor, giggling as Ellie cursed, stubbing her toe on the corner of the bed she tried to press you down into.

It continued like that, the limits of what you allowed Ellie to film seemed to blur further with every day.. Every curl of her fingers around the object that had become so central to this small haven of her home. Your own neck hot for reasons very different from embarrassment each time the filming light blinked a little too long. The line that you and Ellie had drawn in the sand of your mind was looking a lot less precise with every new memory saved into the device.

Even further along into the passing weeks, you had settled comfortably into yet another night spent at Ellie’s. Your own bedroom had remained untouched for nearly a week this time, bed spread likely just as cold as the air outside. But the garage was warm. The air inside thick as you pressed two fingers against your lips to keep a laugh from spilling out. Glasses of half empty wine, stolen from Tommy and Maria’s cupboard, balanced on the table that sat directly in front of the couch you were cuddled into.

The feeling of wine drunkenness always made you giggly, but your girlfriend parading around her small living space with her camcorder, well, that made you even more prone to bursts of laughs. She had gone from filming and rambling on about what wine you were drinking to zooming into your face, chuckling with breath that smelt like red wine. “See how pretty?” Ellie gaped to no one, stepping closer to you on the couch. The whole garage was painted a light orange from the setting sun outside, but it didn’t stop Ellie.

“El, you’re being a dork,” you chide, shaking your head as more compliments spilt from her. She shoos off the bitten remark with a sound that boarders on a coo, leaning over you as the lens of the camcorder sat close enough to pick up the smaller details of your face the grainy film usually could not.

“I’m just showin’ how perfect you are..” Ellie explains, a softer tone edging into her lungs as she presses her thumb to your cheek, drawing a new heat under the digit. “Perfect cheeks…” her finger traces over your jawline next, and then your chin. Each new landmark of your face that Ellie doted on swept closer and closer to your soft lips. You were no idiot, you saw how the green of her eyes fell to the fat, watched as you sucked your bottom lip between your teeth and then out again. You made no move to stop what came next.

That next move was your girlfriend’s finger following like a moth to a flame to the one spot that teetered on that blurry line again, thumb pressing softly around the curve of your lips.

“Perfect lips,” Ellie continued, eyes flicking back and forth from the camera screen to you. Soon the pad of her finger is right against your bottom lip, and the room seems to slow.

The both of you hold bated breaths as you mull over your options. But this mulling is no longer than a few seconds, feeling overwriting the more logical side of your brain with a gushy type of tightness in your chest.

Your lips part, eyes meeting the lense as you suck the tip of Ellie’s thumb into your mouth. Lips wrap around the soft skin, salty and cold, and Ellie has little to say other than a slow and breathy, “Fuck..”

Your tongue peaks out just for a moment, lavishing over the wet skin, but Ellie is quick to pull away, leaving your shining lips parted in confusion. The camera falls to her side as her free fingers wrap around your wrist. Just like last time, the little red light twists away from your face. Ellie’s toes step backwards from that oh so mysterious line you two made.

“You know what you do to me, hm?” Ellie questioned as she hauled you up by your arm, a sharp giggle following as she stomped to the bed. The camera is discarded on the table near her pillows as you are thrown back on it.

“No,” you tease, your next giggle cut off by a thump noise that was Ellie pushing you back against grey sheets, you make a sound that almost sounds like “oof” as you try to readjust. Ellie clambers on top of your squirming frame as another sputtered laugh escapes at the messy, and not very seductive, way you two found contact against the creaking mattress.

“Tell me,” you prompt, meeting Ellie’s narrowed green eyes. “Why should I? You’re laughin’ at me.”

Your eyes roll as Ellie’s lips fall into a pout that you want to kiss clean off. “Stop being a baby,” you mutter before letting your impulse win, your hands cupping the freckles cheeks of your girlfriend and pulling her down for a soft kiss. Her pouted lips quickly shape to your own, and you sigh in approval as the hand not holding herself up traces down to your waist.

“I’m not a baby,” your girlfriend complains when your lips part from each other, and you nearly pinch her cheeks from just how lovely you find the whiny drawl in her voice, instead you just shrug, biting back another half bubbled up laugh, “mhm, prove it.”

Ellie does just that. One tug on your hips has you flatter against the bed, one poke at your side has a squeal leaving your mouth. You see how Ellie’s lips quirk up, but before you can admire the sight, she kisses you again.

“So,” Ellie punctuates the word with a kiss, the sort that makes a loud and annoying smacking noise, before trailing her lips to your cheek. “Fuckin” Ellie’s lips find home on your jawline next, and act that has a simmering heat grow between your legs. “Perfect.” Ellie finishes the repeat of what her fingers had done earlier by nudging your head back, lips pressing softer kisses to the flesh of your neck.

Your eyes flicked to the side table, pupils finding the little camcorder as the auburn haired girl bit at your neck, your attention pulled away as your eyes flutter closed at the feeling. “El,” you breathe out, a hand finding her messy hair, nails scraping at her scalp as she bit harsher at the column of your throat. You aren’t sure why her name had been your first thought to say after seeing the camcorder, swallowing as your fingers itched to reach toward the side table.

“Hm? Tell me,” Ellie taunts, words muffled as her next target becomes your collarbone. Your own words biting at you again as your eyebrows furrowed together, watching as your girlfriend’s fingertips find the edge of your shirt, pushing it up as your hand falls from her hair to help take it off.

You pull her back for another kiss before you can even think to answer her question, one you weren’t even sure you could explain. Ellie’s needy fingers come into contact with the fat of your tits, tweaking at the perked nipples, nails pressing in just a little too hard, earning a mewl directly against the spit slick kiss. As Ellie kissed you, you tried your best to focus on the feeling, and not how you were acutely aware of the camera beside you.

Her tongue swiped at your bottom lip, warm against your parting lips as she searched to deepen the kiss, messy sounds of half breaths and kissing all sounded through the small area, your hips rolling up as her knee slotted itself between your trembling thighs.

You can’t help but wonder what this may look like on camera, and as Ellie pulls back, you notice the green of her eyes had dimmed, pupils blown as the pretty eyelashes fanned lightly. The freckles splattered over the apples of her cheeks were particularly prominent tonight, and you suspected it had something to do with the blood that rushed there, rosy and all around causing that same lovesick feeling to creep up your weakened bones.

You wonder if she would look as pretty on that grainy screen too.

Before your mind can even form another thought, Ellie is pulling away from your lips, a small whine the response she received. You can’t complain for long as she moves down, wet lips trailing sloppy kisses to your soft stomach, planting the ember of a growing fire in your groin, causing your hand to flex. Your eyes are pulled by an invisible string to the side of you again, the black material of the camcorder your gaze’s target. Ellie grumbles in response, and a small pinch on your hip has you yelping.

“What’re you looking at? Look at me.”

“Ellie,” you try again, lip quivering nervously as she ushers you to lift your hips, tugging off the bottoms you wore. “Fuckkkk,” she drawls, lost in her own little world as a large hand presses your thighs open. “You see that?” she marvels, a finger pressing against the wet spot on your panties. When she presses, you can feel the fabric stick to you, nearing translucent as she teases, your lips hugging the now soaked panties. It has your hips stirring in their spot, the flame in your stomach burning your liquid feeling stomach. “Ellie,” you sigh again.

Finally her gaze looks up, “Yea?” she asks, her voice softening. You can see the flash of confusion, her hand falling from your thigh as she searched for any apprehension. “You ok?”

“I can’t—“ your voice comes out whinier than you would like to admit, harsh against your ears with a feeling of embarrassment. “Can’t say it,” you finish, eyes moving to the camera sitting on the small wooden table beside you for the umpteenth time.

Ellie follows your eyes, and when you look back to her, there’s a flash of surprise in the shade of green you loved so much. It was replaced quickly, her eyelids drooping as her chin tilted up. “Hm. Don’t know what you mean,” she shrugs, fingers going back to teasing your panty line.

Her tone is laced with sarcasm, the teasing tilt to it is a voice you had heard many times before, many times in this exact position. Ellie liked to make you say things, liked to watch you squirm. You were convinced at this point she got off on your embarrassment, and she probably wouldn’t even deny that.

“Gonna have to spell it out for me, babe,” Ellie added, dipping down to place soft kisses at your hip-bone, pink muscle licking over a mark there.

A low and annoyed sound escapes your throat, and your girlfriend chuckles against your flesh, one finger curling around the fabric of your panties, tugging it down a little ungracefully, your shaking thighs to thank for that.

“Barely even touched you yet and you’re shakin,” Ellie teases again, whispering softly, “Such a pretty pussy..” as the sight of your weepy folds meet her eyes. “This all for me, baby? Or somethin’ else on your mind?”

Your eyes squeeze shut again, hoping to rid your mind of the film reel like thoughts of the camera pressed in Ellie’s hand as she did this. They played over and over behind the black of your eyes, and another frustrated sound fills the garage.

“Not gonna answer?” Ellie was quieter now, repositioning herself, parting your thighs even more. A finger ghosted over your dripping cunt, a hum following the action. “Can’t make you feel better if you don’t use your words, y’know?”

The warm air hit your folds as Ellie exposed you more, thighs burning from the stretch, from the tight grip of one of her hands, fingers digging into and squeezing the fatty flesh.

The blanket beneath your bare ass is no comfort as you move around, and Ellie’s nose bumps against the softness of your thigh. So close, so fucking close to giving exactly what you were searching for, so close to your aching center that your resolve cracks lightly, head tilted back and against the pillow.

“The camera,” you croak, your mouth dry as your lips part, refusing to look at the other girl.

“What about the camera? Look at me and tell me what you want.”

The crease between your eyebrows likely was gaining small droplets of sweat just from how hard you were attempting to avoid this entire fucking conversation, but Ellie kept pressing you further, and who were you to deny her?

“Wanna film this,” you eventually admit, head dipping down to meet her darkened eyes.

“Yea baby? Wanna see what a mess I can make you?” Ellie’s words start to blur together, the idea surely muddling any coherent thoughts together in her mind, licking her lips as she awaits your response.

“Fuck— mmph, yes El. Please.*”

Ellie’s lips curl into a smile that’s more wicked than loving, “Red button starts it, you can hold it.” She instructed, and you scramble to reach your arm out, grasping at the little hand strap connected to the camcorder.

“There you go babe,” she nods, “give it a go, let me see what you’ve got.”

Your fingers are shaking so badly it takes a moment for your thumb to hit the button, to see the soft little red light noting the start of the film.

The grainy screen doesn’t pick up on all the freckles adorning Ellie’s face. The ones that made you feel all gooey, that you wanted to kiss until her face was a pretty shade of red. But it did capture her parted lips, the expanse of your thighs, and your shaky grip tilted the camera down as Ellie’s head dipped between your thighs.

Her mouth latched to your achy cunt, tongue licking up the drops of arousal that covered your slit, pearling on the petal like lips that she spreads with her fingers.

Your arms almost immediately gave out.

Clearly, you were not as skilled in the art of film making as Ellie had been, the camera dropping almost completely to your tummy as Ellie sucked at your cunt. Her eyes flicked up, and she unlatched from the saccharine slick that pooled on her tongue.

“You keep that camera steady,” she muttered, thumb rubbing tiny, tight circles on your throbbing clit. “Or I stop, yea?”

You nod quickly, hips grinding into the slow and steady motion of her thumb, wet with your sticky . You would have agreed to anything she demanded of you right now anyway. Too needy, too desperate to feel her lips on you again.

“ ‘M counting on you to make a pretty movie for me.”

The sentence tapers off as she disappears to the space between your thighs again, and you nearly and truly sob as her nose bumps your clit, her tongue poking experimentally against your hole, feeling as it clenches against nothing.

You know your whimpers and quick little puffs of air are being picked up by the camera, but you’re too focused on keeping the lense directly focused on the auburn tendrils of hair, on where her face was covered by your thighs caging her cheeks in, keeping her in the place she most needed to be, drinking down every single single drop you gave her.

“Ellie,” you whine, toes curling when she presses away from your clit, two long fingers coming to part your folds, admiring the sticky sight.

“Shhh,” Ellie coos, eyes glancing up at the camera again, the burning sight of her fern colored gaze through the tiny screen has your stomach clenching even harsher, hands trembling lightly.

The air on your exposed center lasts no longer than a few seconds, Ellie’s head dipping down as the warm, wet feeling of a glob of her spit trails down your clit, finding your pulsing hole. Her tongue swipes it quickly after, suckling gently at the shiny bubbles. The sound that follows, the loud wet squelch of your wetness mixing with her spit is enough to make you want to cover the speaker of the camcorder, fingers gripping tightly at the little contraption. She focuses on licking at your sopping cunt, her head moving slightly, moaning against your folds.

“Oh—nnh—El!” you cry, your chin trembling in tandem with the hand you try desperately to keep still. Your hips rut up, and Ellie’s face moves up with you, an arm detaching from its place on your squishy thigh to instead wrap around your waist, pulling you closer. Impossibly closer.

You can feel yourself closer, closer to that delicious peak, Ellie’s nose bumping your clit, tongue working mind numbing ministrations on you.

Then she pulls back.

“Fuckin made for me,” Ellie groans, taking a deep breath as she unlatched from your pussy, her fingers sweeping through your puffy lips. “Was fuckin’ made to let me taste you.” Her eyes flick to the camera, her tone louder than usual— a little less breathy. She wanted the microphone to hear.

You cry pathetically at the loss of her tongue, lip quivering.

“Tell me,” she demands, voice overpowering the slick noises of her now shiny fingers rubbing between your folds, the tips pausing at your pulsing hole, dipping only a little in, teasing. “Tell me this pretty pussy was made for me.”

And then Ellie is reaching forward, letting go of her grip on your hips to grab harshly at the camera, maneuvering it to show your trembling body, her fingers pressing open your lips, giving the camera a pretty close up of your soaked cunt. She croons at the sight, her fingers pressing together to land a short and sharp slap against the swollen lips. “S’pretty.”

“Ellie,” you choke, chest heaving up and down as the embarrassment creeps up, making that coil in your tummy even tighter.

“Tell me,” she says again, smoothly.

Desperate to have her fingers opening you up, to have her filling you and breaking that tightly wrapped tension in your groin, you break.

“I’m yours el. ‘m all yours, was made for you,” your voice is restrained, quiet as you chew at your lips, stirring in your spot as she continues the teasing.

“What else? Tell me more, baby,” she insists, one long finger sinking into you, hissing at the feeling of your cunt molding to her, perfect for her as you clench.

“A—ah!” your voice is a sweet little cry. You grind down into the feeling, searching for more. “It’s yours El,” you babble— louder now, head thrown back. Ellie captured the moment with a quick tilt up of the camera. “M-my pussy s’all yours.”

“Fuck,” Ellie breathes, her own, usually steady camera hand, wavering as you speak. She grants you with another finger as she thrusts harshly into you, a shriek pulled from your open mouth.

“So—s-so fucking perfect,” she grunts, curling her fingers gently, hitting that squishy spot in your walls that has you keening, eyes rolling back. “Love this pussy so much, shit—shit, love you so much.”

“Love you too El,” you blubber, your chin tilting down to stare directly at the camera for a second. That awkwardness, the fear from the early days of when she’d film you completely gone as you moan pathetically, eyes shiny with complete and utter adoration.

She only pistons her fingers into you harder, faster, relishing in how you moan, how your toes curl and your chin wobbles. You’re the prettiest fucking thing she’s ever seen.

The camera points down to where she’s thrusting into you, watching through the screen as you meet her thrusts, your hips moving against the grey sheets, your thighs squeezing her hand in between them as you sob out.

Ellie meets your eyes, stealing your attention from the camera she keeps focused on your squirming frame, pounding her fingers into your cunt. “Cum for me, you can do it baby, go on. Give me a pretty show.”

And you do. Your sweaty back lifts off the bed with a sharp sob as the cord in your tummy snaps, gushing around Ellie’s fingers, pulsing around her as she thrusts shallowly, riding you through it.

Your vision goes black for a second as you heave, hands shaking as you reach out for Ellie, fingers looking to curl around her warm skin.

You don’t even notice the off click of the camera, of how she lets it softly drop to the side as she climbs up your shaky form, pressing a sweet kiss to your cheek.

“So pretty,” Ellie hums, “Prettiest movie star ever,” she mumbled, and you pour your lips— getting another soft kiss as she continues to plant tiny loving pecks around your face.

“Never should’ve let you keep that camera,” you whisper gently, smiling right when she does against the corner of your mouth that she pecks at.

“Yea fuckin’ right, we just made the movie of the year babe.”

#ellie williams #ellie williams x reader #ellie williams x y/n #ellie williams x you #ellie williams x f!reader #ellie williams x female reader #ellie williams fanfic #ellie williams fic #ellie williams smut #ellie williams fluff

[noneorother]

As a film person, this is the most f*cked up thing that happened in all of Good Omens

Forget about the final 15. If there's anything that should convince you that there's something really wack going on in season 2 of Good Omens it should be this cut. I literally gasped when I saw it for the first time. It's SO BAD from a technical perspective. Because you've probably been watching TV and movies your whole life, you might instinctively feel there's something weird happening with this cut, but not be able to put your finger on what it is.

I am here to tell you: they sacrificed continuity of action to *change the main character of the shot in the middle of the scene*. I won't do a full theory course on filmmaking here, but basically, when you want a fluid-feeling sequence of shots, especially when there's quite a lot of movement on screen, you have to conserve the direction and intention of that action to feel like it's all one take, and time is moving forward like we're used to in real life. Here, Crowley, Maggie and Nina all leave the Bookshop together, with Crowley and Maggie flanking Nina, who is centred in the shot. They are moving towards the camera as the camera is walking backwards, but at a slight curve camera-left. Crowley even turns his head and swings his arm left, making us feel like the camera will keep Nina center, and pan left or even cut wider to see more of the left of the street to watch them cross.

Well SURPRISE, idiots!

Forget everything you learned in film school because we're cutting immediately to a second medium length shot of the 3 characters from a slightly more camera-right perspective for no reason whatsoever, in the *opposite* direction of where the action is going, WHILE THAT ACTOR IS SPEAKING A LINE. This is so counterintuitive to the blocking of the scene that Maggie literally gets shoved out of frame while we're supposed to be reading her reaction to Crowley's dialogue. I can't stress enough how weird it is on a fundamental level. When a camera is moving and a character is talking, conserving continuity of action is THE ONE thing you don't sacrifice. It pulls people out of the moment, and makes it extra obvious that multiple takes have been stitched together. Which leads me to think that this is intentional, and sets up what I hinted to at the beginning of this whole "The More You Know" moment : Nina is the main character of the scene we're watching, until, suddenly, Crowley is. If you separated those two moments before and after the cut and watch them as two different scenes, you can see the camera following Nina and keeping her center before, but directly following Crowley and keeping him center *after* the cut. We've switched narrators in this moment. And to top it all off, they're making it pretty obvious that, while Nina is listening and reacting to both Crowley and Maggie, Crowley does not give a rat's ass about the two humans (not either not really in frame, or cut off behind him).

#good omens 2 #good omens meta #art director talks good omens #go season 2 #go meta #good omens season 2 #good omens season two #good omens #go2 #good omens prime #crowley #anthony j crowley

[spaghettiposts]

To be loved

Tara Carpenter x Reader

Summery: You’ve never known love, until Tara.

Warnings: Fluff, lovey dovey words, mentions of Ghostface attacks, fluff fluff fluff, wlw, neglectful parents, hurt/comfort.

Word count: 2.1k

A/n: This was just a bunch of word-vomit I came up with in the spam of 3 days, reader definitely has been neglected but Tara’s here to fix that <3

You’d say love was one of the things you missed most, a missing puzzle piece to your emotions. Absent parents tended to do that being busy with work and all, love only feeling like a distant concept because of it. Sure, you knew they cared for you—deep down somewhere, but not enough to take a day off. The more you thought about it, the more that nagging voice in your head mocked you; not once did they take a day off. 

There were fleeting moments of jealousy you felt, gazing desperately—longingly—at your friends and their mothers, wishing for just a fraction of that affection. The ache of longing never quite left, as you watched them being cared for, held close, and repeating the same wishful thinking. You never truly got to experience that, but swiftly pushed those feelings aside, burying them.

 By high school, you became pretty good at patching up your own wounds and learning to live on your own. Maybe that was for the best.

You learned to rely on yourself. 

That was until college, Blackmore University. A relatively close college to your house, the commute was doable and hey, you actually liked some of the classes. Your parents had encouraged you to attend first, explaining how getting a degree in engineering would really help you take over their business someday.

You hesitated to tell them that wasn’t what you wanted. Not if it meant having to put work before others, you didn’t wanna be like them. 

Still, you went along with it, taking the classes they suggested. Amidst the sea of blueprints,�� you had picked up an appreciation of the art of film. Deciding to take a class for yourself, you signed up for Film History. Later, it was the best decision you ever made. 

And the first time you met Tara Carpenter. 

She was undoubtedly beautiful, anyone with eyes could see, but it was the radiance surrounding her that truly mesmerized you. Indisputably, you folded like a table. The effortless confidence she emitted during class discussions, the stubborn fire inside her, and her unabashed passion for something as simple as filmmaking—it seemed like the whole world to her. 

It only took a group project for her number to end up in your phone, and it only took a party for her to slam her lips against your own.  

With her, you found a happiness previously unknown to you. Every moment turned into the highlight of your week,  you were absolutely head over heels for your girlfriend. From tender first dates ending in soft slow kisses on her doorstep, to the cozy movie nights leaving your lips swollen and your cheeks flushed, and between those; gentle moments of care. They blossomed a newfound sense of joy in you, and in Tara. 

Day after day you effortlessly fell into new habits, soaking up every second of them. You learned Tara loved to smile between kisses, while she, in turn, learned you enjoyed the feeling of your hair being toyed with. It was all just perfect. 

However, as time went on, you couldn’t shake the feeling of Tara drifting away. Her sudden coldness left you stunned and hurt. The more you tried to talk, the more she pushed you away. But you weren’t one to back down so easily, confronting her in her apartment one last time, seeking some closure. 

 It only took a month for Tara to be honest with you, and fearfully so. Through shedded tears and shaking hands, she explained to you, and you listened. It hurt you to see her hurting, expressing vulnerability she hadn’t allowed you to see. Her arms came up to hug herself and you’d never wanted to punch Ghostface more. 

Tara half expected you to walk away, laugh at her, and leave her like the rest of them but you made it clear you weren’t leaving. You spent the entire afternoon by her side, determined to prove her wrong and keep her safe, whispering murmurs of promises between kisses. Holding her close until tears subsided and drifted off to sleep, thoroughly exhausted from it all, peacefully in your arms. 

Following her confession, it felt as if a weight had been lifted off Tara’s shoulders and your relationship picked up from where it stopped. Your bond with the shorter girl only grew stronger, surpassing previous boundaries as you both delved into a deeper understanding of one another. Tara clung to you, unwilling to let you slip away, and gradually, you found yourself spending more nights at her place than your own. And truth be told, you didn’t mind that one bit. 

As much as you wished everything could continue perfectly, a coward in a mask would only try to ruin it all. 

——

It had been a week since the latest run-in with Ghostface, A week since your left arm got slashed up. Tara was absolutely livid, and you wondered if her anger was directed more at the attacker or at you. Either way she let Chad hear it when she learned you had “heroically” taken the hit for him — though she preferred to call it stupid rather than heroic. You didn’t argue with her on it. Fortunately, Chad was able to pick himself up and knock out the idiot before he could do more.

Despite that fury she held inside her, you could see the worry etched on her face, bordering on tears, during your hospital stay.

Days later you’d learn he was just some deranged kid trying to be “Funny”. He was promptly arrested by the police and sent to a hospital. You’d never seen Sam so disgusted. 

Considering the circumstances, you were fine. Mentally? Probably not, you hadn’t had time to reflect on it. Physically? That’s where it was hitting most. The scars left by his knife only got progressively worse as time passed. Chad was quick to call an ambulance for you, and you thanked the man greatly, holding onto his shoulders for support. 

The doctors affirmed the bone wasn’t too severely damaged but it would need time to heal. Hence the blue cast hanging from your shoulder. 

But the strangest part wasn’t your injured arm - it was Tara’s behavior. You understood that she was reliving the whole ordeal all over again and tried your best to comfort her. But it seemed just being around you, without fail, brought tears back into her eyes. With time, she was starting to recover too, but she stayed unusually quiet. Despite this, she never left your side, not even for a moment. Like right now, she sat beside you, on your good side, as you watched a movie together in her room. 

You didn’t want this attack to get in the way of your relationship or mess things up, so you insisted on keeping things normal - like movie nights and when you were both up for it, date nights. 

Tonight, Tara picked a Disney movie, probably to keep things light after what happened. You tried not to let your heart swell too much at her consideration. 

“Sit up for me,” Tara mumbled out of nowhere, pulling you out of your thoughts. You furrowed your eyebrows but did as she asked, watching as she disappeared into the bathroom and came back holding a familiar red box. 

“Tara, I’m okay.” You lied. 

She arched an eyebrow, reading completely through you but didn’t say anything, simply opening the kit and motioning for you to swing your legs off the bed. 

You sighed, complying with her words knowing better than to argue. 

“You’ve been scratching at your shoulder this entire time. I know it’s bothering you. Let me change it.” She said softly.

Pursing your lips, you nodded, giving her the go-ahead. You understood that helping you made her feel better, even though you constantly reassured her that it wasn’t her fault.

Sitting straight up, you watched as she delicately unwrapped the gauze, marveling at her gentle touch. A shiver ran down your spine as the fresh air hit the wound, her eyes softening as they fell upon the scar. She then grabbed some cotton balls and applied alcohol to them, causing you to hiss at the burning sensation.

“Sorry.” She murmured, leaning in to press a kiss on your cheek before blowing softly on the cut. “I don’t want it to get infected, it’ll just get worse.” 

You nodded, biting the inside of your cheek. It felt good, having someone care for you like this. More than you’d ever admit, really. The thought of how much you secretly loved Tara fussing over you was too embarrassing to acknowledge fully. 

You couldn't help but relish in the feeling of being looked after, of having someone fuss over you with such genuine concern. It was comforting, reassuring even, to know that you weren't facing this ordeal alone, that someone was there to support you every step of the way. 

As her fingers delicately adjusted the bandage, ensuring it was snug yet not too tight, your heart spoke before you could stop it. And just like that, the words spilled out, unfiltered and sincere: “I love you.”

Tara froze, the silence turning deafening. Her fingers pressed slightly harder against you, fingernails digging into your shoulder but you didn’t comment on it, too overwhelmed by your own anxiety and fear that she could hear how fast your heart was beating. After a beat of silence, she continued wrapping the fabric, cutting it off once she finished. Yet, her touch lingered, eyes fixated on the injury, her thumb softly rubbing against your shoulder. 

A small sniffled escaped her, and she stood up abruptly. Covering herself with her arm to wipe away tears. Your heart sank, fearing you had ruined everything.

“You shouldn’t.” She whispered, her voice barely audible, as she rubbed her arms in search of comfort. “I’ll just get you hurt.” 

Your eyes softened, heartbreaking at the sight of her vulnerability. It was a side of her you had only seen once before, the last time you nearly broke up. A look you didn’t want to see.

“Tara, don’t say that.” 

“It’s the truth, everywhere I go he follows.” She choked out, her eyes glistening, “You’ll never be happy constantly looking behind your shoulder, living in fear.” 

You stood up, pausing in front of the shorter girl. Tara sighed, shaking her head and turning away. Your hand gently lifted her chin, and you leaned down to press a kiss against her cheek, coaxing her shaken eyes to look at you. Very seriously you uttered, “Every time I'm with you I feel more secure than ever in my entire life. We take care of each other, I’ll take care of you. I love you, Tara.” 

Tara shudders, her head leaning against your forehead, letting the words wash over her. Your arm rubs softly against hers, while you pepper kisses along the side of her face, expressing your feelings through touch. 

Shakingly, her nails grip tighter against your back. “If you’re gonna keep saying that- you have to mean it.” She affirms, pulling back to look at you,  “You can’t just say that and leave, not anymore.”

You nod in agreement, finally, leaning down to capture her lips between your own, pulling her into a loving kiss. “I mean it, I love you.” You whisper against her lips. 

Tara swallows, before letting out a watery laugh. “I love you too, god I do.” 

Her hands find a home between your neck, pulling you in closer into a much firmer and passionate kiss. Your stomach tightens, and you shiver when her tongue slides in effortlessly, melting at her touch. 

Getting lost in the moment, your feet move before you realize it, and your knees hit the bed. Tara gasps in surprise, clutching onto you for support and you wince at the sudden pressure to your cast. 

You let out a breathy chuckle, sinking back into the mattress, Tara quickly joining in to meet you. The room fills with shared laughter, a moment of light amidst it all. Being mindful of your arm, Tara moves to lay by your side once again, draping an arm across your chest. She presses a lingering kiss to your neck, sighing against you.

You recall your previous conversation. And you wanted to say she had nothing to worry about—nothing to be scared of. But you both knew the truth of the cruel world you lived in. Safety wasn’t something you could guarantee, not to Tara, and not to yourself. 

Instead, you pulled the girl closer, her body adjusting to fit with yours, her head resting on your neck. If physical contact was what she needed to sleep for tonight and any night, you could provide that. Pressing a tender kiss to her head, you placed your chin on top of her, reveling in the moment, focusing on the small patterns she traced on your skin. 

And just for once, without fear, Tara let her eyes close. Slowly falling asleep in your warm embrace, completely reassured that you wouldn’t be leaving her.

#tara carpenter x reader #tara carpenter x you #tara carpenter x y/n #tara carpenter x female reader #tara carpenter #jenna ortega #jenna marie ortega #jenna ortega x reader #wlw post #tara carpenter fluff #scream franchise

[autumnsxxangel]

SandRay are an homage to Wong Kar-Wai's Happy Together and in this essay I will..

...actually explain it because I see people catching his homage's to Western queer media, but not really his shout outs to Eastern queer media.

I assumed there would be allusions to Happy Together when I first saw the trailer, but this last episode centered around Ray really cemented it for me. After all, why would P'Jojo reference all these Western queer shows and not talk about what is probably the most iconic piece of Eastern queer media ever?

Wong Kar-Wai & Happy Together

For some background information, Wong Kar-Wai is a famous and insanely influential Hong Kong filmmaker. If you're a film nerd, you probably know who he is and recognize his style. If you like film and metas, I would recommend watching some of his stuff because afterwards, you'll realize just how much influence he still has on modern media, especially in Asia. Stylistically, he's known for rich color grading; thematic usage of music; an unending sense of nostalgia, heartbreak, and missed opportunities; and dialogue that mean nothing on the surface because everything meaningful is boiling just under, left unsaid (If you've watched Everything Everywhere, All At Once, the entire actress universe sequence was an homage to Wong Kar-Wai). His actors always do a phenomenal job because so much of what they need to portray can't be communicated through words. It makes sense why SandRay, aka FirstKhao, were chosen to represent Happy Together as they are the strongest actors out of the group.

Happy Together, simply summarized, is about two men, Ho Po-Wing and Lai Yiu-Fai, who are in a very tumultuous relationship. They end up in Argentina because they wanted to visit the waterfall that's on a lamp that they own. They get lost, end up using all their money, and have to figure out a way to get back to Hong Kong. While there, they break up, get back together, and break up again.

The movie was released in 1997 and is still ranked as one of the best queer movies of all time. The two main characters are played by Tony Leung and Leslie Cheung. You might recognize Tony Leung as Simu Liu's dad in Shang-Chi. Leslie Cheung was in Farewell, My Concubine, and was famously a bisexual man with a long term male partner. This is significant because it was virtually unheard of to be out and open at that time (he made his relationship public in 1997 though he had mentioned bisexuality in earlier years), especially in Hong Kong which was, and still is, very homophobic. Leslie received a lot of hate for his sexuality and androgyny. (If you're interested in learning more about Leslie as a queer Asian figure, this is a good video essay that goes over his work and his life).

Sand as Lai Yiu-Fai

Fai's, and in turn Sand's, character can be summed up by one line, "One thing I never told Ho Po-Wing was that I didn't want him to recover so fast. Those were our happiest days."

Both Fai and Sand are very static, straightforward characters. They stay above board for the most part and work a variety of jobs to survive. They have their morals about what is right and wrong, which unfortunately is both of their downfalls.

In Happy Together, Wing breaks up with Fai because he is bored with the relationship. He basically says, "I'm bored being with you. Let's break up. If we happen to meet again, we can try again." Then he leaves Fai stranded on the side of a highway.

Later, he reappears in Fai's life. The first encounter is a fight, much like Sand and Ray's first meeting in the bathroom. The second encounter is because Wing gets beaten up. He goes to Fai because he knows Fai will feel obligated to take care of him and he does. It becomes the beginning of their rekindled relationship.

Similarly, Sand has a strong sense of obligation. There are already metas out there about how Sand has a bit of a hero complex. He sees Ray too drunk to drive and he had to step in. He doesn't just take the keys and order a taxi. No, he takes the keys and drives Ray. Sand sees Ray being all sad and pathetic and he can't stop himself from helping. It makes him feel useful. It makes him feel needed.

Both of these men are caretakers. They show affection by providing care. Sand ends up cooking for Ray just as Fai cooks for Wing even when he's sick. As an added bonus, they both make fried rice.

Both Sand and Fai are characters that stand completely still. Ray and Wing always know where to find them. Sand can always be found at YOLO and Fai is at his apartment. Because of this, Ray and Wing come and go as they please. They know that Sand and Fai will take them back...until they finally don't.

Ray as Ho Po-Wing

Starting on a base level, both characters are bratty, needy, promiscuous, spoiled, and selfish. But most importantly, they both share a love of fluffy cardigans.

(I also have a theory they keep putting Ray in wife beaters as an homage to the 90's HK cinema style because otherwise...I just don't understand why, as a rich asshole, he's always in wife beaters. By Thai BL logic, he should be in shirts with too many buttons unbuttoned.)

Wing and Ray are both the ones controlling the pace and direction of the relationship. They come when they need someone to nurture their wounds, both physically and metaphorically. They leave when they're bored or have things they deem more important. They both initiate intimacy and won't take no for an answer.

Wing does this by first trying to join Fai on the couch and then chasing after him to the bed and begging him to let them sleep together.

Ray does it by continuously getting Sand to get in the car with him and then using his puppy dog eyes.

They are both also very, very pouty.

Wing's line is "We could start over". He says it every time he comes back after he's the one that ends the relationship. Fai always fights taking him back, but he always does it anyway.

Ray doesn't really have a line yet (unless you count his "na na naa~"s) but he bats his eyelashes and so far Sand has given into him every time. Sand keeps trying to set boundaries, but the moment Ray begs a little bit, Sand crumbles like a house of cards and lets Ray have whatever he wants.

Relationship Parallels

Wong Kar-Wai is known for making movies about star crossed lovers who are meant for each other, but aren't meant to be together.

Like Wing and Fai, Sand and Ray fill in each other's cracks in a way that complements each other. However, because of the nature of the cracks themselves, them complementing each other is exactly what makes the relationship so toxic. One stays and one goes. One takes and one gives. One is steady and one is flighty.

Most of what I wanted to say about the parallels between their relationships is in the character comparison. What I'm more interested in is the future of SandRay's relationship, especially if they continue to parallel Wing and Fai's in Happy Together.

Obviously, Wing and Fai don't end up together at the end. It wouldn't be a Wong Kar-Wai movie if they did. What is interesting is that Fai's relationship with Wing eventually pushes him into becoming something angry and spiteful. Once Wing heals, Fai knows that he'll become bored and want to leave. In an attempt to get him to stay, he steals and hides Wing's passport which is insane because they are both gay men stuck in a foreign country where they don't speak the language.

Wing, of course, leaves anyway.

There is also a third character, Chang, whom Fai ended up liking. These new feelings are what eventually pushes Fai to leave Argentina and move on from Wing and move on with his life.

The question is, if SandRay follows that same path as Happy Together, what will be the passport that Sand tries to hold over Ray and who will be Sand's Chang?

Stylistic Parallels

Smoking

Making Ray and Sand smoke is definitely an homage to Happy Together with the added bonus of being a metaphor. For the most part, we rarely see characters, especially main characters, smoke in Asian media because smoking is reserved for 'bad' characters.

Cigarettes in Happy Together represent boredom. Fai and Wing smoke at the beginning before they rekindle their relationship because they are just moving through life. Once Fai and Wing get back together, cigarettes stop making an appearance. It isn't until their relationship started deteriorating that we see the men smoking again.

This can also be said about Sand Ray's relationship. They started their 'involvement' with cigarettes. However, the last time we actually see them smoking is in ep 2 right before they hook-up. Since then, we have not seen either of them smoking. This probably means that we'll see one or both of them smoking again when their relationship starts to break down.

(In the preview for ep 5, there is an ashtray in the background on the balcony so let's see if Boston finding out about them is a catalyst for them to start breaking down.)

And of course, there is the added homoeroticism of asking for a light.

Ray's Opening and Closing Scenes

Ray's episode is really what made me go "I see you P'Jojo".

Ray's episode starts with a shot of him isolated and in emotional pain. The camera is claustrophobically close and it keeps moving around. He has a little voiceover opening. It's calm, it's contemplative, it's a little existential, and it is irrevocably sad. If that is not a Wong Kar-Wai staple, then idk what is. Even the song that starts playing gives me 80s, 90s Cantopop vibes.

Ray talks about how Mew being his emergency contact and the one he goes to. Fai talks about how Wing always comes back to him and says "Let's start over".

The movie and the episode ends with both of them once again isolated, alone. They've been through an emotional journey and they've technically moved on. But there's always the idea of not being able to fully let go in Wong Kar-Wai's movie. So just like how Fai has physically removed himself from Wing, but not emotionally, has Ray actually fully removed himself from Mew?

Cinematography

Then there's just a collection of scenes that reminded me very heavily of Happy Together and Wong Kar-Wai's style. I would have added pictures from his other movies for comparison, but Tumblr only lets me put 30 images in a post and I don't want to make a 2nd post.

This scene is specifically from the 1st trailer so I hope they keep it in the show.

This one I call the inevitability of falling. Both Sand and Fai realize they're fully committed to their decision to take care of Ray and Wing here.

The end title card

Actually, all of the end title cards give very Wong Kar-Wai vibes. Look at that saturated, neon color grading. Look at the elongated shots. The intense feeling of isolation.

I'm assuming we'll get all the characters at one point, but so far it looks like the end credit cards indicate who the narrator of each episode is.

Anyway, that's it for me! Sorry it was so long and rambling. I tried to organize my thoughts but as I was thinking, more thoughts would pop up and I'd get distracted. If you made it this far, thanks for reading!

#ofts #only friends the series #only friends series #sandray #ofts meta #only friends meta #happy together #i have to post this now because if i dont ill keep writing and ive already spent too much time on this #if anyone has other screenshot comparisons post them #because there are a few more scenes that give me major wong kar-wai vibes #but im too tired to look for them now

[quinton-reviews]

What advice would you give to someone considering making video essays?

Don't be weighed down by the expectations of others. It seems these days there are now too many people assuming that if you want to make something labeled a "video essay," you have to match a certain style or tone. In many ways, it's overbearing - if you make something that has too many skits, too many jokes, that doesn't have a strong thesis outside of "this thing is bad", people say you're "failing to find a point." But if you put weeks of work into the filmmaking process and you want to call it a documentary, it feels limiting to have people insist that it's just a rant video instead of something more.

In truth, I recommend just trying to make *videos* first and trying to find your voice. No one starts off on YouTube being totally original, but as you learn the craft you will find your own brand and style. I think it is important for smaller creators to experiment, in spite of keyboard warriors being obsessed with the idea of everything under the sun needing to be new.

Starting off, your biggest struggle will be finding contentment in the experience of making videos - finding your closure. If you don't have an audience watching your stuff right away, spending weeks working on a video with 0 views can feel pointless and frustrating. Without finding a resolution for each project, you'll start to wonder why you're doing it.

So instead, find a friend in your personal life who will watch the videos with you. Make content for you and the people you know, and find contentment in that experience. And when you start to grow and gain real followers, pivot your style to match that new status quo.

Creating content for YouTube is a process of throwing things at a wall until something sticks. The big secret is the moment something sticks, you drop everything you're working on and do *that thing* five more times. This helps build trust in the algorithm and helps build your brand to new viewers finding your content. But don't write yourself into a corner - allow yourself to experiment and evolve even as you're finding success. If I didn't do that, I'd still be making drama videos about LeafyisHere. I'd be burnt out, miserable, and bitter. But because I allowed my style to evolve with my own tastes, I now am at the highest point in my career (to the loud annoyance of many people online).

But the biggest advice I can give is that if you think being a YouTuber will solve any issues in your private life, it won't. That's the biggest mistake I made starting out, I thought having this parasocial connection with other creators would fix my loneliness and anxiety. It didn't, in fact, it made things worse; and I am the only person to blame for that. I quickly learned that the most important people in my life still were (and still are) my real-life friends - people I go to bars with IRL and people I chat with on Discord - and not other creators. Sure, having this mindset has made me more isolated in many ways, but honestly I think that's the way it has to be for someone like me.

Final piece of advice - create your YouTube channel with a secret email you never post about online. It makes it much harder to dox and hack you. Peace out!

#youtube #youtube advice #quinton reviews

[artist-issues]

It isn’t all the filmmaker’s fault that all we’re getting is second-rate remakes and sequels to franchises that should’ve been left alone a long time ago.

We don’t have a clear idea of why we like the things we like. So we don’t clearly communicate why we like the things we like. So it’s no wonder Hollywood keeps getting your favorite movies and their characters wrong. The fans don’t even know why they like what they like.

When Genie is set free in the original Aladdin, that moment was impactful, and you remembered it all through childhood. When Luke tosses the lightsaber away and says “I am a Jedi, like my father before me,” it was impactful, and you remembered it.

But did you stop and analyze why? What made those moments, and those stories, impactful?

Did you say, “Genie wished to be free for the whole movie, and he was always trying to tell Aladdin about how freedom only comes from trusting, and he was learning to trust Al himself, and Aladdin finally DID trust Jasmine to still want him even if he wasn’t rich, so he set Genie free in the most satisfying way!”

Did you say, “Luke spent all previous movies rushing into fights, and trying to control everything to save the ones he loves, but when he finally has his enemy at his mercy and is at the height of his power, he realizes that being a Jedi isn’t rushing and fighting and controlling; it’s having faith in the good and throwing your opportunity for control away.”

Did you think through and appreciate that stuff? The values? The point of the whole story, and how the characters act as pillars holding that point up? The good and the bad things that they embody?

No. Not out loud. Because we don’t think critically anymore. We just go “what’s this? Entertain me. Oooh, I felt something! Good! Next!”

The why behind what you like is the only value in liking anything.

But we don’t look objectively at the “why.” We don’t dwell on the “why.” If we dwell on anything, it’s to superimpose ourselves or whatever we like onto the characters.

You think Barbie was hyping feminism because you like feminism, and because you felt things during Barbie. You write fanfiction about Eddie Munson that has nothing to do with what Eddie Munson actually is as a character—because you like love stories, and you felt some compelling emotions when you saw Eddie Munson onscreen, so you’ve decided that those things should go together. You take something that made you feel emotions while you watched the canon material, then you don’t bother to process those emotions or what made the canon material compelling. You just slap whatever you already think you like onto something that made you feel, whether it had anything to do with what you like or not.

You eat the apple and benefit from it without knowing, at all, what nutrients are inside. Then when someone offers you crap and tells you it’s apple-flavored, you wonder why you’re not feeling the same way afterward.

Then you misdiagnose. You say “no, I don’t wonder why I’m not feeling the same—it’s because the CGI in live-action remakes suck!” Okay, great, so they’ll get better CGI. And it’ll still suck. Because that was never the problem, just like the reasons you liked the movie were never the reasons it actually impacted you in the first place.

Figure out. WHY. You like what you like. Figure out if it’s because the stories said what their creators objectively intended for them to say—or if you like the story in spite of that, not because of that.

Then open your mouth about it. It is worth it.

#Me #writing #remakes #Star Wars #Luke Skywalker #genie #Robin Williams #will smith #Aladdin #live action Aladdin #live action Disney #live action remakes #Hollywood #state of the fandom #fandom #Musing #rambles #Remakes suck #Remakes #remake #movies #media #Eddie Munson #headcanons #Barbie

[lurkingshan]

10 Things I Love About Ossan's Love Returns

Y’all. Y'ALL. I am stunned right now. I am verklempt. I never thought I would end up here. But here I am.

I bounced hard off the original Ossan's Love. Like, hard. I DNF'd and immediately memory holed just about everything I knew about it. But people I trust (namely @isaksbestpillow and @twig-tea) said this new series was an improvement on the original, and that I didn't have to go back and try rewatching the first series to dive into this one. So of course I, a jbl devotee, had to give it the old college try.

AND TO MY SHOCK AND AWE, I LOVE IT. This show is excellent. This is Japanese media at its absolute best, showcasing the precision in writing, directing, editing, and acting that they can reach when they are firing on all cylinders. This is the kind of comedy only a Japanese production can get right, because it requires a mastery of all these elements that you just can't get in less mature filmmaking industries. This is the best example I have ever seen of this kind of broad comedic style grounded in real stakes.

So let me tell you why this show, which is available for the international audience on Gaga (and with subs coming from Sirii, as well!), is worth your time:

This is a story about an established relationship between adult characters. Y'all know how I feel about the dearth of this we get in drama! Maki and Haruta have been long distance for four years and are moving in together to start their married life as this show begins.

The writing is unbelievably strong. Everything that happens matters, the characters always make sense, and the jokes are genuinely so fucking funny.

Kurosawa, or Chief, as I refer to him, is one of the funniest characters of all time, in any drama. The way this man had me laughing out loud in every scene! I felt like I got a workout.

This show is a feat of editing. I have been watching a string of shows recently that are getting hamstrung by bad editing, so let me tell you, it was a true pleasure to watch a drama that executes editing tricks so deftly and with such an eye toward sharpening its story and enhancing its jokes.

It has excellent female side characters. We have Chizu, my favorite lady bestie who is here to whip Haruta into shape at all times, and Chuoko, an actual archer who also has her own little romance going, and Haruta's mom, an unbothered legend who just wants to eat her food and get to her dates with her boyfriend.

There's a mystery! Next door to Haruta and Maki are two creepy mfers (brothers?) who are Up To Something. Or not! I don't know but I’ll find out!

We are getting an actual dialogue about gay marriage. Haruta and Maki consider themselves married, but have no legally binding contract and have not yet had a wedding, and they talk about this and their feelings about it often as they are negotiating their lives together.

We may have some aroace rep happening?? This is still pending but my radar is pinging hard for Takegawa to join the incredibly shortlist of explicitly aro and/or ace characters in bl.

DID I MENTION THIS SHOW IS FUCKING HILARIOUS. I cannot overstate the number of times this drama had me straight cackling in three short episodes. I had to get up and do some laps to walk it off.

The show is extremely well paced and I trust it not to waste my time. No small thing in these bl streets! The odd episode order (9) and tight pacing of each of the first three episodes tells me the creators of this show know exactly what they are doing and how much time they need to execute their vision.

This show is airing live for the next six weeks and I strongly encourage you to watch it and come join the fun with us!

#ossan's love returns #ossan's love #japanese bl #shan recommends #10 things #shan shouts into the void

[dean-winchesters-clit]

Okay y’all, we need to talk about the OFMD season 2 trailer

Or, lack thereof.

Listen, I’m also frustrated. I want some sort of update too, something concrete that we can sink our teeth into. However, I think the memeing may be going a little too far. Let me offer some words of comfort.

I understand that the first season of Our Flag Means Death was only in post-production for about six months before releasing. I understand that it’s been almost seven months and we’ve gotten no news, I get it. But, we have been promised a bigger, bolder, more extravagant second season. Samba has also mentioned that the VFX artists are working very hard to finish the effects for season 2.

And - to tangent off of that - the VFX houses working on the show are absolutely SPECTACULAR. We’re talking about the people behind the effects in the recent Dune movies, Black Mirror, and THE FUCKING BOYS. If we have to wait for THOSE GUYS to finish season 2 before we get any update, I will gladly wait for as long as it takes because the effects will be out of this fucking world.

However, I think that the biggest reason for this lack of news is actually due to the desired release date. I am in no way 100% an expert, but I did go to college for filmmaking for five years, so I know what I’m talking about to an extent. I know with absolute certainty that the date a film/tv series is released is incredibly important to its success.

Yes, it is true that they would have needed to release the second season before May 9th in order for it to have been eligible for consideration at this year’s Emmy’s. HOWEVER, it is possible that they knew the show would not be ready before the cutoff for the 2023 Emmys, so they are aiming for next year’s Emmys. My theory is that we will get some sort of teaser by the end of August or beginning of September and that the show will premiere in late 2023 or early 2024.

The biggest times to release any sort of film or series come during the summer or around the winter holidays. This is why we have summer blockbusters and why Disney released some of their most widely popular animated movies during the month of November. These are times when people have a lot of time off work or when kids are out of school/college and are more likely to go to the movies or watch tv.

However, things have changed in recent years with streaming services. I think it’s likely that the second season may air in the “dead” month of January when lots of streaming services will post original series or movies since nothing big tends to be playing in movie theaters at that time.

Just be patient, my loves. I do not foresee us getting the second season before the summer is over. There could be a million reasons why we have yet to hear anything concrete about season 2. I think it’s very likely that everyone has signed NDAs that are keeping them from spilling any news until HBO gives them the go ahead. And don’t forget that there’s a MASSIVE strike going on that could be halting the progress of the production of season 2. Be patient, stop hounding the actors and creators for information that they can’t give us, and go write/read some goddamn fanfiction to pass the time.

TL;DR: There are 3 main reasons why the second season could be taking so long. 1: It’s just not fucking ready yet 2: They have a late 2023/early 2024 release date in mind 3: The Writers Strike has ground everything to a halt. Just be patient and enjoy some fanworks while you wait.

#our flag means death #ofmd #blackbeard #edward teach #blackbonnet #gentlebeard #stede bonnet #ofmd stede #ofmd ed teach #writers strike #fanfic #fanart #ofmd fanart #ofmd fanfic

[rwrbmovie]

#RWRBMovie: deleted scenes

Matthew López:

The Cornetto scene. The breakfast scene at Kensington Palace. Everybody’s wondering what happened to the scene [at] the campfire. You know, in the course of making a movie and in the course of telling a story — runtime is less important in the streaming age than it is in theatrical distribution, but what was important to me is that the film be the right length. You cut things for pacing. You never want the audience to get ahead of you, you never want the audience to be bored. You know, there was originally a whole scene where Alex comes to the polo match. He meets Princess Bea. Henry and Alex have a little exchange after Henry gets off the horse. They go to the tack room together. What we found as we were watching the film was that Nick and Taylor were so good together in the scene prior, in Alex's bedroom. And actually when we did a version of that scene in Alex's bedroom, we got a note from the studio, from producers, asking if we could try and make that scene shorter. “It’s good, but it’s long.” So we did our first test screening and I did a shortened version of that scene in Alex's bedroom. I was really hesitant to cut it back. But I wanted to be a good collaborator and prove that I can take a note and I'm willing to try things. We actually got more than a few comments back literally saying, “We wish that scene were longer.” So that, of course, was great for me. That scene in Alex's bedroom is the entire scripted scene. There's not a single cut from the script to the final cut. As a consequence, though, of that being a rather lengthy scene, I needed to then regain momentum. We've spent it all on this scene and it's worth it because that scene between the two of them is so dynamic and wonderful. But now we gotta get things going again. So, I had a new editor come in halfway through because my first editor, Christina Heatherington, who's wonderful, had another project that she had committed to doing. And our post dates got extended a bit and she had to leave, so Nick, my new editor coming in, took a look and he says, “I wanna try something with that polo match.” He spent a weekend of his own time doing something, and then he was ready to show me. He sat me down and said, “I’ve done something crazy.” I’m like, “Great. We love crazy.” He showed me what was largely the version of the polo match that is in the film and with that music. I was laughing with glee the whole time I'm watching it. He was nervous, 'cause he is taking like six minutes of story and condensed it into two and a half minutes. But it has so much drive. It's sexy. It tells the story. It was a real lesson for me as a first time filmmaker: if you expand time, then you need to maybe also learn how to contract time. So that was a big lesson to me in pacing. With the Cornetto scene — that scene in Kensington Palace Gardens, it does everything I needed it to do. Weirdly, the Cornetto scene actually relieved some of the tension between them. I was like, look, if you take the Cornetto scene out, then the tension from that first scene remains when they go into the interview scene. I learned a lot of it is about taking the energy from one scene and using it to help you get into the next scene. One of the things I learned as a playwright, which I found was applicable to cutting a movie, is if a scene isn't working, it might not be the scene itself. It might be the scene before. “Why isn’t the interview scene playing as well as we think it should?” Look at what came before: the Cornetto scene … The Cornetto scene is charming. But we also understood, narratively speaking, it was unnecessary. And more to the point, it sapped the tension out.

(source)

#rwrb movie #red white and royal blue #interviews #matthew lopez #pls prime we need these deleted scenes

[chaos0pikachu]

So I wrote a bit about the film making of The Sign already but I wanted to dive a bit more into the VFX aspects b/c the show is - justifiably imo - getting a lot of praise for their work.

So I'm going to quote this video by VFX artists that I think sums up why, overall, the CGI works in The Sign:

"It's very interesting with a smaller budget Jurassic Park was crunched into choosing their VFX shots very very wisely and they didn't hold shots for longer than they needed to."

(I recommend watching the entire video, there's a lot of great discussion and education on how VFX is done in film. They're not simply "reacting" but talking about the techniques used in the film making itself.)

This is partly what The Sign is doing really well, they're not lingering on any shots, they're using their budget well by picking the most impactful moments to include more expensive and complicated CG effects.

What I love about smaller or mid-budget films is you can tell when the crew had to get truly inventive, creative, and purposeful when choosing how to portray a specific effect or action in a scene. Jaws is one of my favorite examples of this; Jaws cost 9 million (about 51 million adjusted to inflation) in 1975, and the shark animatronics (there were 3 pieces) was difficult to work with. This led to Spielberg and the crew switching things up and going for that shark POV that's now really famous.

It wasn't an accident, but it wasn't 100% planned or originally intentional, there was an issue, and the crew reworked things within their budget so they could still accomplish their creative goals.

The iconic first scene of the t-rex in Jurassic Park is a combination of an animatronic and CGI. In the video above they talk specifically about how this was filmed, and how setting the scene at night, with a singular main light source, and covered in water, really helped make the t-rex look "real". And why that scene holds up really well even today.

The Sign has used moments of CGI very sparingly which works within the story yes by building up tension within the narrative mystery, but also in the film making. They're not overwhelming the audience with it, whilst also using real sets and props to blend in with those scenes AND using a lot of the CGI in specific spaces.

The scene in ep01 where Phaya meets the Naga for the first time is a good example; the water is dark, there's only a singular light source (above) and there's a general lack of background. With only one light source, the VFX artists don't have to worry about shading every inch of the Naga to photorealistic standards, the image doesn't have to be insanely sharp b/c the water adds a layer of blur to everything, and since it's already a mystical creature the audience already has a higher suspension of disbelief anyway making us more forgiving to the fact this is not a "real" creature.

Compare this mythical creature with the dragons from Game of Thrones:

I want to first say I do think the special effects of GOT were really good, the VFX team's work is to be appreciated. But see how there's more light sources required for these dragons? They're just not just within a limited area, they're outdoors in the open which requires more math (literally) on where the light will bounce and reflect, plus all the disparities in texture on the dragons themselves. See how parts of their wings are more noticeably red then others?

Game of Thrones was a show with millions upon millions in it's budget, so they can indulge, The Sign doesn't, so they have to be smart. And they are!

Another standout scene so far in the series as far as filmmaking goes for me is from episode05.

If you look closely you can see the edges around Phaya are a bit blurred out and rewatching the scene you can see an image of him is almost transposed over the actor as well. It gives it a pseudo 3D effect, which helps blend the actor into the fake background which makes it less obvious it's, well, fake.

Then there's the Big Moment, the reveal of our Garuda:

I'm partially not convinced this was 100% CGI I'm wondering if they used a bit of claymation or maybe a miniature or something (maybe a puppet?). The weight of the movement and body feel like something more close to the use of a puppet or animatronic than straight CGI. (If you want to read more about miniatures in film I recommend this article on Godzilla 1954!)

But what I find smart about this shot is that the focus of the camera is on the Garuda, Phaya is much smaller and lower in the frame. I say this is smart because being distance from Phaya allows for the Garuda and the background to take up more space in the frame and contrast less with the real elements, ie Phaya's real human body. It also makes the Garuda more imposing, dominating the frame at a higher angle, and gives a sense of largeness in comparison to Phaya's smaller human self.

Since the Garuda is against an already fake background there is no need for a "light source". Notice how the Garuda has no shadows or light reflections, unlike the Naga from before (or the t-rex)? This makes less work for the VFX team b/c now they don't have to math out where all the bits of shadow, light, and color textures would come from, everything is flat and singular.

Keeping the Garuda at a distance as well, means we're not looking at or for the details of their feathers, or body. We see there is texture to them, but it doesn't need to look photorealistic b/c of that distance in the frame.

Contrast it with Simba from Lion King 2019, or Detective Pikachu:

Again, I think both look very good, but they need to because the audience is so close to the characters in frame. If Pikachu or Simba didn't have this level of care and detail put in when the audience is literally right in their faces everyone would notice how fake they look and complain (I mean I still complained about Lion King but b/c it was a bad and visually boring film but the VFX team did a great job).

We know this because Ant Man Quantumania didn't put the same care and effect in and it looked horrible. Everyone clowned Modak, and fair, but it wasn't just him that looked bad. Entire set pieces look clearly fake, like why is Ant Man suddenly in Zanarkand??

In the second image, look at Scott and Cassie's clothes, you can see the light on their clothes (especially Cassie's) isn't the same as what's happening in their surrounding environment (which is a lot jfc). It's also just poor film making because the frame of both shots is cluttered to the god damn BRIM with STUFF our eyes aren't sure what to focus on. There's a lack of perspective and weight given to the scenes (compare these wide shots to Jurassic Park when our protagonists see the dinosaurs in an open field for the first time, there's a sense of WONDER). So our human characters get completely lost in the frame and feel overwhelmed entirely. They also stick out because the CGI isn't fully well rendered.

Possibly my biggest chaotic take to date, I prefer the CGI in The Sign to Ant Man 3 there I fucking said it. Ugliest MCU movie to date I said what I said.

There is at least care going into The Sign, there's thought, there's creativity, there's a sense of passion. I can forgive that the Garuda isn't photorealistic because it doesn't need to be, it needs to be visibly believable within the world it's set in and it does. The show has been very smart about when to employ it's special effects, and how to film them. It's taken care. It has more in common with films like Godzilla Minus One which had a budget of 15 million and looks phenomenal, way better than Godzilla vs Kong or what we've seen from Godzilla x Kong (which I am looking forward to b/c I'm godzilla trash).

anyway watch the sign it's gucci

#the sign #the sign the series #chaos pikachu speaks #lord have fucking mercy this was long #chaos pikachu metas #Youtube #pikachu's bl film series

[fandomstickyy]

Watching A Movie With A Rape Scene

Angst/COMFORT

18++ MDNI

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CW: mentions of rape, NOTHING GRAPHIC, comfort from these menzes

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Au: I'm a bit of a film nerd so I'm always looking for indie/low budget bangers and a few movies I've seen have straight up r#pe scenes! Idk why I terrorize myself. Thought of these scenarios to ease the pain 💀. ANYWAY this post is probably super random but I've seen a lot of wild fics on here so whatever it's not too bad.

It's all fluff!! <3. Take care of yourselves !! Don't read if you're not up for it

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Deku

° wants to turn the movie off completely

°is super mad if the scene feels unnecessary to the plot. Really sensitive ab it. Even if it makes sense for the plot he's still mad.

°Rethinks his opinion on the entire movie

° if you don't wanna watch it anymore then he is zooming around to get snacks and put on something cute and/or comforting.

°"you want an extra blanket? We have chocolate you want chocolate??"

°"izuku please sit down, I'm okay."

°very touchy the rest of the night. Almost as if physically apolozing for you having to see that 🥺. Touches are light and needy

Bakugo

° he's REALLY uncomfortable

° I mean it goes to say they all are BUT he seems like the guy to freeze up at first

° mind RACING

°body stiff

° 0-100 instant stress. Just thinking "UGH WTF! I didn't know this shit was in the movie when I picked it out! I hope she knows i didnt know" "👀 damn do I turn it off!? Would that be weird ??" "Is she uncomfortable-"

°he'll blurt smth out about the @ssaulter being a piece of shit or smth.

°he pays a lot of attention to how your reacting to his statement. Wants to make it clear that he would NEVER think that's okay. He can be rough around the edges even sharp at times but he would never cross that boundary w you or anyone else nor does he think that's okay (goes w all of them but I feel bakugo knows he's a little more aggressive than the rest I can see him being a little insecure that anyone would possibly THINK he would sympathies with or do smth so shameful and cruel)

° if he sees you're really affected by the scene, he will pull up every reason that the movie is "actually trash" and that the filmmakers are "demented"

° would turn it off if you're really not feeling the movie anymore

Kirishima

°similar to bakugo there's an instant panic. It's that tense in their muscles, that shift in their eyes to you, to the tv, to you, to the wall.

°there's more hesitation with kirishima because he wants to protect you but doesn't want to treat you like your some kid that can't protect themself

°back and forth, back and forth, back-

°"He- hey baby I don't think your eyes need to see that, right??" Reaching to fast-forward with an awkward laugh which makes you laugh hard

°why this man can't stop stutterin ????

°you adore the way he's so caring about it but the act was just too wholesome not to laugh

°"What?? C-comeon I don't want you to see that. .. it's not beautiful.. and you should only witness things that are beautiful .." (BRUH PLEASE-)

°holds you tight the rest of the movie

°giving small kisses on your head, arms, shoulder

° when the movie is over, just wants to hold you close for a moment in silence

° maybe asks if if you're okay after seeing that even though he fastforwarded through

Denki

°instant reaction

°covers your eyes !!

° "LALALA!! how was your day baby??"

° closes his eyes too!

° he might as well just fast forward or smth, but he kinda just dived over to you before thinking ab it <3.

°yall 100% get caught up in the conversation, hands over your eyes and everything. Maybe he brings up a funny moment when yall were hanging w friends recently or the way the bathroom door looks like it has a face and he's judgey and his name is Willfred the III

°laugh until you snort when yall realize the r#pe scene is over and has BEEN over

°bored w the movie anyway and change it to Shrek

#mha #bnha #bnha denki #denki x reader #denki kaminari #kirishima x reader #kirishima eijirou #mha kirishima #bakugou katsuki #bakugou x reader #mha bakugou #mha deku #deku