#my s1 file is so grainy

[pleaseshutupaboutsatou]

your art is sooo incredibly inspiring i absolutely love your lineart, composition, coloring, etc. you are so amazingly good at what you do!!! i only watched ajin s1 but your work motivates me to read the whole series. if i may ask, would you ever share insight on your artistic process? like how you prepare your idea for an illustration or comic and see it through to the end? anyway im convinced you deserve so much more attention, your art is so lovely to look at! thank you for sharing it.

Thank you, I really appreciate your kind words. I highly recommend reading the manga if you've seen the anime. They both sort of start on the same footing but over time the manga goes in this totally different direction that's very rich and colors the characters more deeply. It's been a while since I've seen the anime but I want to say it's defined more by events while the manga is more character-centric and really dives into the motivations and feelings of the characters.

On my main art blog (@cloverdraws), which you might not be aware, I have provided some insight into my comics process here ☺: https://www.tumblr.com/blog/view/cloverdraws/684198040768217088?source=share

I post my non-Ajin stuff there and also reblog my Ajin stuff over there after some time has passed and I remember to.

However, I wouldn't breaking down how I tried to come up with stuff for Ajin week since it's a little more different and simpler:

So I start off by having this document with a bunch of panels I made to plan and feel around for ideas.

I have different panels like this with different dimensions. Usually the piece will fit. It's a pretty big document but not so big that my tablet or computer can handle it okay. These are the dimensions of the document I use atm.

Anyway, I sketch out ideas. For Day 5 I had blue, social media and ajin in diff countries. I decided to draw a blue Izumi drawing or a group pic of the Maryland Ajin.

As I draw, my sketch begins to loosen up and more ideas come

In the end, I decide to go with the top center because I like the attitude of it. Usually if I'm really going to make a nice illustration, I would blow up the thumbnail and then sketch but I was pressed for time so I decided to work at the same dimensions as my thumb which is pretty decent size anyway.

I do line art. For this one I chose 'The Robin Sketcher' a nice grainy pencil-like brush I got via Clip Studio Assets. Lately I've gotten pretty comfortable with it.

It's really fun to add pools of black with this brush so that's what I do.

I block in colors that seem to fit with each other. The blue bg is added later and is a bit bright but it's because I like the contrast and I plan to darken it with a gradient and some texture. Also, this picture is me toggling the visibility of layers so you don't see the whole process, but here I also added a little color to the face, knees and other places. You don't see it well but her hair behind the lines in her hair is kind of green, working with the black imho.

I add more details like some darkness behind the crates, some shapes to the poster and the texture/gradient for the bg I was mentioning. I also added her name tag because she had that in canon and I thought it would be a fun detail to add her surname at the time, 'Tanaika'

Finally I do some pretty simple shading with a round brush and later soften it in strategic places but also try to keep the harder edges too. It's your standard 50% multiply layer.

The color feels a little flat, so I find adding a gradient adds some dimension. I also made this gradient normal at ~50% starting from the bottom to homogenize the bottom with some blue and draw our eyes to her face

Then I play around with layers and filters to strengthen the blue and the feeling I want to convey with this picture

I don't like to go crazy with the filters but this is what I used:

I then Save As a copy and make this drawing it's own file so I don't overload my thumbnail file. In the end this drawing came out to a decent-size dimension and I really loved how it turned out.

#draws #drawtalk #do i dare tag... #ajin #i think so #i go over my day 5 izumi draw

[rynewind]

#911 #9-1-1 #911 fox #911 on fox #evan buckely #bobby nash #hen wilson #henrietta wilson #911edit #my gifs #i do stuff #911mine #my s1 file is so grainy #doing my best here

[kayascodelorio]

"palette” gif tutorial

hi everyone!!! so i’ve gotten countless requests to make a tutorial for my lara jean gifset, more specifically this gif:

so today i’ll be showing you how i make this gif right here:

as mentioned in the original post, this whole gifset was inspired by one of my favorite mvs of all time: palette (hence the creative name lmao). i essentially used screenshots of the mv to make my own similar template to work off!

disclaimer: i suck at explaining things, so you’re all gonna have to bear with me and my 100000 screenshots and poor attempts at explaining wtf i’m doing. hopefully you can manage to understand what i’m on about!!

if you’ve never made a gif, check out this detailed tutorial i made some time ago:

how to make gifs + color gifs (this tutorial includes links to download ps)

tutorial under the cut (i’m sorry for how long this is rip)

first, screenshot the mv. (timestamp 0:38)

here is my screenshot:

now, we’re gonna open ps and go to file > open to open the screenshot on there. this is my screen rn:

notice how my timeline is there (little box on the right side of the screenshot). we’re going to need the timeline for the gif later. if u don’t see the timeline, go to window > timeline and it should show up!!

time to crop the screenshot. using the crop tool, (left sidebar, 5th icon from the top) remove the black parts of the image (top and bottom) until all you’re left w is the white area. final product:

now it’s time to change the size of the canvas we’re working it so it can be the dimensions we want it to be! go to image > canvas size

a window like this should pop up:

we want our gif to b 540px by 400px, so just fill that out and press ok:

this is what your screen should look like after (aka super zoomed in):

we’re gonna fix that rn!!! making sure the layer (right sidebar) is selected (you can tell it’s selected when it’s in blue), press command + t, which will leave you with this:

okay, so i’ve covered this before in my previous basic gif making tutorial and not much has changed since then aka i’m still shit at attempting to explain wtf i’m doing. BUT basically this part involves using the top bar (pictured below) and changing the % of the W and the H to make the image the amount of zoomed in i want it to b (if that makes sense)

again, i usually just play around w the %s, depending on how zoomed in i want my image or gif to be, its dimensions, etc. the higher the %, the more zoomed in it is. basically, putting in 50% would make it way more zoomed in than 20% and so on. for this, i’ve tried out several % and decided to use 39%, but of course you can pick the % you prefer. so write in your chosen % in these two boxes in the top bar like this:

click the checkmark at the right of the top box and voilà! this is what you should have rn:

see how all the 9 squares fit perfectly inside? wow, powerful. anyway, let’s keep going djfhdkfd. now we’re going to make our own squares aka the squares in which the gif is going to be. start by creating a new layer (at the bottom of the right sidebar, the second to last icon before the trash icon). give it a name so it’s easier to keep track of: i picked s1, since this is going to be the layer where the first square is going to be (and so on). also make sure the new layer is above your image like this:

time to actually make the first square!! select the rectangular marquee tool (left sidebar, 2nd icon from the top) and select one of the squares in the image (113px by 113px) like this:

select the paint bucket tool (left sidebar, under the eraser tool) and make sure the color is set to black (#000000) before you click on the square you just selected. very important: don’t forget to have the s1 layer selected (should be in blue) when you do this or else it will fuck up.

this is what your screen should look like after:

as you can see, we have one square done, but there are 8 more left. right click on your s1 layer in the right sidebar and click on duplicate layer. name that layer s2. making sure the s2 layer is selected, drag it to the place of the second square:

keep doing the same thing until all the squares are covered with black ones like this:

now i’m going to hide the black square layers by clicking on the little eye icon (left of layer) for each of them bc i want to include the little dark pink doodles on my gif as well, but you don’t have to, so if you don’t wanna include it in your gif, you can skip over this part!!

there are technically 3 ways you could do that (well maybe more lol but these 3 are the ones who came to mind:

method #1: use the brush tool to draw your own doodle (or trace over the existing one with a new brush)

method #2: use the magic wand tool to select the doodle and use the brush tool over your selection

or method #3: look up doodles on google and drag them onto your image

i don’t have an ounce of patience rn, so i will b using method #2. select the magic wand tool (left sidebar, 4th icon) and make sure you select the first doodle the best you can. don’t forget to make sure your screenshot (image with the doodle on it) is selected while you select the doodle or it won’t select anything!!! like this:

create a new layer (bottom of the right sidebar, the second to last icon before the trash icon) and again, make sure it’s above all the other layers. with your new layer selected (in blue), select the paint bucket tool (left sidebar, under the eraser tool) and pick a color (i used #e1b5c4). click on your selected doodle. this is what you should have:

repeat for the other doodle with another layer.

final product:

it looks a bit Rough, but hopefully you get the idea?

now we’re going to merge all the little squares into one layer of little squares. if you have doodles, remove the eye icon (left of layers) for both of them to hide them and make sure all of your eyes are there for the square layers. select the s1 layer and then the other layers up to s9 while keeping one finger on the shift button until all the square layers are selected (in blue) like this:

right click on the s1 layer > merge layers. all you should be left with is:

now that this is done, we need to fix the background.

create a new layer that you will drag above the screenshot (layer 0) but under the s9 layer. i named mine bg (background). i want to keep the barcode in the original screenshot, so i won’t select that part. using the rectangular marquee tool (left sidebar, 2nd icon from the top) and with the bg layer selected, draw a square at the right of the bar code so you have this:

with the paint bucket tool (left sidebar, under the eraser tool) and the color set to white (#ffffff), click on the selection.

and that’s your template!!!

with doodles:

now onto making sure the gif is going to actually move properly.

click on the little arrows at the right side of the timeline to expand it until you have this:

and then click on create frame animation. your screen should look like this:

notice how it says once at the bottom of the timeline? make sure to change that to forever, or it will not play:

click on the convert to video timeline icon (the one on the left of the forever). this is what you should be left with:

now, time to make the gif that is going to go there*

*if you have no idea how to make gif and are lost af, i suggest you check out my previous tutorial where i explained this part with more screenshots and more specifically bc i will be more vague here regarding this

also i’ve said this again and again, but remember to ALWAYS USE 720P OR 1080P FOOTAGE WHENEVER POSSIBLE FOR YOUR GIFS or else they will be grainy and extremely unpleasant to work with.

i’ll be using a video from youtube for this. i suggest converto as a converter, it works really well and allows you to download youtube videos in 720p and 1080p!! once you have your footage ready, go to file > import > video frames to layers. use the markers to select the part you wish to gif, and, once you’re happy with your selection, click ok.

to select all the frames, click on the icon on the right of the timeline (4 lines with an arrow) and click on select all frames. then, go to select > all layers in the top bar. everything should be selected (in blue) like this:

now, fixing the speed of the gif. 

super helpful post explaining gif speed right here

i’ll personally be using 0.06 here.

click on one of the frames in the timeline > other. write in the speed you chose and then press ok. go to convert to video timeline icon (the one on the left of the forever).

you should have something like this:

go to filter > convert for smart filters:

the time has come to drag your gif to the canvas:

make sure the gif is above the s9 layer (layer with the black squares) like this:

to make our gif fit inside the squares, we’re going to make sure the gif layer is selected. then, press the option (alt) button and click between the gif layer and the s9 layer to create a clipping mask (like this). this is what it does:

this is where i usually play around trying to find a size for my gif that looks nice. press command + t and, like we did earlier, find a % you’re happy with. i’m going to go with 20%. after moving my gif around and making it less zoomed in, it now looks like this:

this is usually where i would sharpen my gif, so, with your gif layer still selected, go to filter > sharpen > smart sharpen, and then ok.

these are my settings:

we have to fix the length of the gif, since there’s a lovely limit on this amazing site. i suggest you pick something to gif with not much movement, or you’ll have to make it even shorter. there’s no magic formula, just try not to make it too long, especially since the gif is large in size, so the smaller the better in this situation. this is what i have:

notice how the layers in the timeline are all of different lengths, so make sure you make them all the same like this:

once you have a psd ready, go to file > open and when it loads, drag it onto the canvas, above the gif. i added one of my psd on mine.

for the text on the top right, i can’t remember the exact font i used, so i picked another font different from the original.

these are my settings:

what it looks like with the psd + doodles + text:

and we are DONE!!! all that’s left is to save our gif!! go to file > save for web

these are my settings:

SUPER SUPER IMPORTANT: make sure your gif is set to forever in the looping options at the bottom right of the window or else your gif will absolutely not play properly!!

also, CHECK YOUR GIF SIZE (bottom left). with this website changing its gif limit every 2 seconds, better safe than sorry!!

here’s the final product:

thanks for sticking around and reading all of this!!! i hope it was somewhat helpful even though i suck at explaining how i do stuff! :)

#stupid tumblr crashed so i had to start over but here it is finally!!! sorry for how long it took!! #gif tutorial

[kiss-my-freckle]

Red’s Vanessa Cruz shooting. A long post. 

Red’s Vanessa Cruz shooting is the most convenient piece. Tom’s involvement in that shooting being the “certain truth" about Red that I believe he wiped from Liz’s memory. Uncovering Tom’s involvement in that, Liz would’ve realized what part Tom played in her Cabal frame. While Red traced everything back to the harbormaster trial in his conversation with Liz on the phone, his shooting in 2x18 was their initial hit. I think Red made that connection to the harbormaster trial for a reason. He didn’t save Tom to save her. Red had no flipping idea Tom would walk on Ames’ murder, he only knew that Liz would. Dialogues show it. The judge didn’t let Tom go, Connolly did. Dialogues show it. I think Red mentioned the harbormaster investigation to leave that open for the memory wipe reveal. Their way to marker the episode where Liz should’ve circled back to that phone call. It was a basic hint to Liz, a puzzle piece - you have more than a grainy photo of Karakurt, you know Connolly made that investigation go away. I think Red knew at that point Tom was involved in his shooting because Connolly allowed him to walk on Ames’ murder. I think that’s why Red doesn’t understand why Liz continued a relationship with him. I think Red knows about everything at this point. Everything BUT her second memory wipe. 

Several things about Red’s 2x18 shooting that are questionable. That’s why I consider Red’s shooting the most convenient piece. 

1. Quon Zhang gave us timeline for each hit. 

Karakurt and Andropov needed to remain in contact and line up their schedules so they could hit back-to-back as they did. The fact that Karakurt entered the country at the end of Zhang’s episode tells us that Anropov infected the college student in that episode rather than in Karakurt’s. He wouldn’t have entered the country until the virus was proven successful. That’s your timeline. Andropov infects the student at the same time Red introduces Zhang. Understanding their need to keep in contact according to their mulitple phases because they needed them to align a certain way. 

Once Andropov tested the student at the open of Zhang’s episode, would’ve contacted Karakurt and informed him. That’s how Quon Zhang could speak to Karakurt entering the country by the end of his episode. Andropov would have informed him at the start of it. Then what you have, is Zhang smuggling Karakurt into the country so he can bomb Orea. Once the Orea bombing was completed, the next phase was Andropov infecting Liz at Union Station. After that, Karakurt’s phase at the memorial as a fake reporter. After the senator was infected, Andropov and Karakurt were done, Liz’s frame fully complete. This would’ve required a back-and-forth sharing of information - which they did. 

Orea agents had no reason to believe Karakurt entered the country. Entering the country wasn’t mentioned in their conversation, they only spoke of “phase two” - which isn’t specific. Andropov in bold. 

-Tell me it worked. -The proof of concept succeeded as projected. -Prepare to initiate Phase Two. -Done. I’ve identified the markers for targeting and customization.

2. Tom called Liz back to his warehouse. 

Tom’s rapid switch, and a reason to question his need to lie to Liz.  

Tom: Wait, wait, wait, wait, wait. I can’t. Not about this.

He can’t tell Liz about the passports. About THIS. The passports didn’t come from Red, yet Tom claimed they did. Tom had no reason to hide the fact that Red hired him. If Red issued those passports, had no reason to hide that either. Tom was already “out.” He pulled himself back in when he messaged Liz to stop by. 

Tom: The passports - the passports came from Reddington.

According to Keen2 shippers, Liz’s kiss goodbye caused Tom to change his mind, pushed him to be honest with her because he couldn’t imagine his life without her. The truth would’ve had no bearing on their relationship, nor affect Red. He didn’t have to know where that intel came from. So simple ... “Hey Red, I found out you hired Tom Keen to enter my life because I was finally able to trace those passports back to you.” Liz learning, not Tom informing. He would've been safe from Red, Liz would’ve appreciated his honesty. Tom simply could not reveal where those passports came from. He basically lied to Liz twice. Honest when he told Liz Red hired him to enter her life. 

One should question: What did Tom hope to gain by informing Liz about Red? Why lie about the passports, but be truthful about his hire?

My belief. Tom told her the truth about Red hiring him so he could sell the lie about where the passports came from and basically bury the real truth. Easy to buy the lie, to buy Red issuing passports for the spy he hired to enter her life. I believe they tell a much bigger story.

3. Missing conversation and Connolly’s dialogue. 

Before they cut scene, Tom had one more thing to say. 

Tom: Liz, there’s more.

That’s it. That’s all we hear. Cut scene. 

Jasper: It’s me. It’s done. Red: I’m listening. Jasper: The vote went your way. The Director wasn’t very happy, but - a vote’s a vote. Red: And Hobbs? Jasper: He wants to meet. Red: Yes, I’m quite sure he would have. But he can’t, can he? Jasper: What are you talking about? Red: Hobbs was to contact me after the vote was cast. He didn’t, which means he’s dead, which means you betrayed him. Betrayed me. Jasper: That’s not true. He specifically asked that the three of us should meet so that we can discuss the future. Red: You need to run, Jasper. Run like the prairie wind because I’m coming for you. And when I find you, I’m going to cut out that forked tongue of yours and deliver it to the Director myself.

Jasper was the one who said The Director had an inside man. Samar played it off like she was his inside man, but she was not. Jasper, The Director with his inside man, Red, and Dembe. 

Red: It’s time to go away, Dembe. Dembe: Agent Keen wants to meet regarding the Fulcrum.

Red was prepared to go away because Liz wouldn’t give him the Fulcrum and his life was in immediate danger. The Cabal pushed him into a corner. That’s what made this work all the better. The Director knew it. His inside man knew it. The Director already got his backing to kill Red. That’s what they were voting for. All he needed at that point, was the Fulcrum. Guess what Liz did? Took the Fulcrum to the very location where Red took a bullet. Everything The Director wanted was there - after Liz left Tom’s warehouse:  

“Liz, there’s more.”

One should question: What else did Tom tell Liz that we didn’t get to hear?

My belief. Tom told Liz that Red only entered her life for the Fulcrum. Basically confirming that fear she had since her Braxton recall.  

Caul’s episode brought quite a coincidence. A bit of dialogue that came from the very man who allowed Tom to walk out of prison. Not only walk on the murder of Eugene Ames, but on charges stemming from his work for Berlin.  

Connolly: I appreciate your loyalty to Agent Keen, Harold, but - you have to admit, there’s a possibility she’s being completely manipulated by Reddington. What if the reason he chose her in the first place is because he wanted to get his hands on this thing? What if that’s the real reason he turned himself in? Cooper: I don’t believe that. Connolly: All this talk about some personal connection between Reddington and Keen, why he chose her, some shared history - what if Reddington doesn’t care about Agent Keen and it’s all been a manipulation?

My belief. While Cooper didn’t believe what Connolly was selling, I believe Tom did, and I believe he sold it to Liz in their missing conversation. 

From saying this on-screen: “Liz, there’s more.”  

To saying this off-screen: “You’re being completely manipulated by Reddington. He chose you because he wanted to get his hands on the Fulcrum. That’s why he turned himself in. You have no shared connection, no shared history. You want to know why he chose you? It’s because of the Fulcrum. He knows you have it.”

I think that’s why she called Dembe immediately afterward, and told him she wanted to meet regarding the Fulcrum. I also think that’s why she brought the Fulcrum to their meeting. 

4. Pushed to the edge. 

Imagine the build-up since Luther Braxton. Liz’s fear that Red only entered her life for the Fulcrum. She spoke of this immediately following her recall. Several more mentions after that. The idea bothered Liz. Moreso because she became possessive of him. She spoke of this to Samar. Selling a shared history/connection just to get his hands on a blackmail file. Basically preying on her emotions, as she spoke of at Tom’s grave. That’s what Red would’ve been doing if that were the case. Yes, that’s something to fear. Even in The Deer Hunter. 

Add in her belief that her father died because of the Fulcrum. Because Red and his people came for it that night. Now add in the man Red hired to enter her life. Their entire relationship built on a lie. And Tom could’ve easily sold that as yet another lie - claim he was hired by Red to enter her life in an effort to find the Fulcrum.

Her dialogue as well as her emotion. 

Liz: Here. This is all you wanted. Now you have it.

Liz: I said, please do not attempt to explain why. I don’t care why. I just want this to stop. I want it all to stop, right now. Take it!

That’s quite a leap from Red issuing passports and hiring Tom to enter her life. “THIS is all you wanted” taken back to Tom’s initial statement. "Wait, wait, wait, wait, wait. I can’t. Not about THIS.” 

5. Tracking Red.

No one has EVER been able to get close to Red. Surely not close enough to put a bullet in his chest. I know some theorists believe Fitch was able to get close to him due to S1 dialogue, but one must look at his dialogue, compare it, then consider intent. 

Fitch: You were walking in the park this morning. We could’ve taken you then. Instead, we dragged you from the safety and security of the bed you’re now sharing with new friends. 

Solomon: The plan was to grab her today, no matter where she was. Grocery store or house of God, it makes little difference to me. 

As you know, Solomon was in custody at the time Liz was attacked in the grocery store parking lot. Word of mouth. That’s all anyone needs. 

Their intent? To instill fear and maintain control. 

Red is off the grid. No digital footprint. One can’t actually track him. No phone, no email, everything is done face-to-face. Not even Dembe’s flip phone. What I’m basically saying is this: NO ONE tracked Red to that meeting with Liz.

One should question: How did the Cabal learn about Red and Liz’s meeting and location?

Liz’s Lord Baltimore tail makes this all the more interesting. Compare her Lord Baltimore tail to Ezra. So obvious that it feels blatant.  

Ezra tails her out in the open. You quite literally see him tailing her from the very beginning of S2. He has no need to wear Keen2 glasses. We NEVER see him wear them, and it’s not like he needs them - he’s not pretending to be a teacher. They only tail Liz for one episode, and they tail her specifically. They show this in scene. They are following her, not him. 

How does one track Red when he leaves no digital trace and no one can get close enough? Either study his tie purchases like Samar, or take the simple route: tail Liz. As cautious as she was trying to be - changing her route, living in motels, etc - this person was still able to track her. I believe they brought this tail in specifically to show how the Cabal was able to put a bullet in Red’s chest. I believe they tailed her from Tom’s warehouse to the meeting location. 

A gif set after this post to show what I mean by the tail and its purpose. 

6. The time it took them to put a bullet in Red’s chest. 

Less than 90 seconds after he arrived at their location. That’s 90 seconds his shooter had to get to the fourth floor and set up the shot.

7. Their initial hit. 

Red’s shooting was their initial hit. The first move the Cabal made after learning Liz was born Masha Rostova. The first move they made in their plan to frame her for treason. They needed him out of the way so he wouldn’t be around when Karakurt and Andropov came in, nor be around to clear Liz’s name. Basicallly, they wanted things to go as planned.

8. Hits and their differences.

Section one.

While the Cabal orchestrated Red’s shooting, they had no idea Liz would shoot Connolly. An obvious difference there. Connolly’s shooting compared to the Orea bombing and the senator, just as obvious. His shooting didn’t require a frame. Liz pulled the trigger herself in a banquet hall full of credible witnesses. Unlike Red, one can easily get close enough to take a shot at Connolly. When it came to exoneration, Connolly’s shooting took her badge. She was cleared on everything else. Had she not shot him, Liz would’ve had her badge when she returned to work, no deal required. 

Summation of Connolly’s murder.

Was not part of Liz’s Cabal frame. 

Happened unexpectedly. 

Was a choice Liz made.  

Provided credible witnesses. 

Took Liz’s badge. 

The only charge that wasn’t exonerated. 

Coincidence, the many parallels and dialogues supporting the possibility that Liz's second memory manipulation may have played a role in this shooting. 

Section two. 

Liz’s fingerprint found on the explosive device involved in the Orea bombing. An obvious plant. Seen near the truck, but not prior to detonation. An act that didn’t have as much proof as the virus that killed the senator. News reporter feed that recorded Liz infecting the senator as she assisted him into the car. Her blood testing positive for the virus. Overall, the biggest difference is the lack of evidence in the Orea bombing compared to the evidence they had for the senator’s death. Orea required more planting, whereas the senator simply required they mislead Liz into killing him. 

Summation of the senator’s murder.

More evidence. Stronger evidence. Harder to disprove evidence. 

Liz being misled, requiring less falsification.

Planting evidence in her blood. 

Harder to plant evidence in someone’s blood. Wouldn’t be that hard to plant a fingerprint and falsify documentation. I believe the Orea bombing came first because their plan to reignite the Cold War required it in that order. 

One final, glaring difference between hits: Tom’s character.

The Orea bombing. The virus that killed the senator. Connolly’s shooting. Three hits that put Liz on the run. Tom was hesitant to help her with the Orea bombing and the senator, but eager to help with Connolly’s shooting. Add in the possibility of Liz’s second memory manipulation. 

Tom’s thoughts regarding the Orea bombing and the senator. That’s Reddington talking. There’s no clearing it up, there’s only leaving it behind. He can keep her safe, he can help her disappear. He doesn’t know Andropov. Liz told him she had proof that Cooper’s doctor worked for the Cabal, and he told her to slow down. She can’t leave. Then he can’t stay. Basically, Tom couldn’t stay either way, he had to leave with or without Liz. Why?

Connolly’s shooting in S3 was complete opposite. Tom came back. For some reason, now able to stay. For some reason, now eager to help Liz. For some reason, not a single moment of hesitation. Sitting by the phone, waiting for her call. Leaving his number with the damn waitress ffs. Tailing Ressler for the sake of it. And doing this to exonerate her. Apparently, they can clear this up rather than leave it behind. No need to keep her safe or help her disappear. He knew Karakurt but not Andropov. No need to tell Liz to slow down, Tom himself was unable to slow down. Why the change?

Connolly’s shooting mattered to Tom. Why?

Because Tom saw The Director on the news. The Director wasn’t on the news until S3. Cooper fooled by Connolly. Ressler fooled by Laurel. Tom fooled by Peter. 

#Rederina #Anti-Tom Keen #Anti-Keen2 #Keenler baby theory