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#the English TV series
elenanumbertwo · 2 years
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eternalegoist · 1 year
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the English: some thoughts (sorry I need to think aloud)
Did Melmont have people track Eli and engineer him and Cornelia to be at the Hotel at the same time, to get rid of both the last witness to the massacre and the last person who knew of his infection at the same time?
Why was Eli going home both on the day of the massacre and on the day Cornelia arrived?
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suosopuli-blog · 2 years
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I don’t know how to make gifs so here’s a prompt for anyone capable: you know the monologue Cornelia holds about why she cherished her son it all can apply to Eli as well and I have not been normal since I’ve made the realization.
Please make a gifset of Eli and splice in Cornelia’s words. Extra points for using the footage of episode 2 when Eli reveals what happened to his family to “Because he suffered.”
Cornelia: I cherished him.
Melmont: Why?
Cornelia: Because he drew breath. Because he never gave up. Because he knew pain and pleasure and boredom. And because he suffered, he taught me to do the same.
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I think the biggest difference for me between projects (like to be clear I think NATLA is not good as an adaptation or a show, and I think the PJO tv show works as an adaptation and a show) is something that feels so basic, but shocked me when it clicked, which is that
NATLA has no actual visual storytelling going on
Which sounds ridiculous, but let me explain what I mean. "Visual storytelling" is how you communicate aspects of character or relationship through visual framing, parallels, that kind of thing, usually to indicate progression or a character's viewpoint. Many people have noticed that NATLA's cinematography leaves much to be desired, there are some shots that are good particularly in episode 6 (the Zuko transition shots between past and present, and one of the ending shots between him and Aang) but that's by and large the exception.
What I mean when I say "visual storytelling" is that NATLA doesn't have visual motifs. It doesn't really have parallels happening that much in the text or in the visuals. And this is something that ATLA did really, really well, all the time, particularly with Zuko's scar. Just take this framing of Zuko and Aang, in particular, from The Storm and The Blue Spirit.
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They even have consistent colour tones of Aang having a warmer, lighter yellow (Air Nomad) and Zuko having a darker, deeper red (Fire Nation).
And this is something I think Percy Jackson does pretty well. They have consistent motifs / descriptions if it were, particularly when it comes to Percy and Annabeth's relationship and her character.
Percy: [Choosing Annabeth] And if the mission required someone to push me down a flight of stairs for it to succeed, you want someone who won't hesitate when they do it.
Percy: [literally pushes her down the stairs but to save her life]
Ares: You're new to the family, young one, so let me fill you in on how we work. [...] Olympians fight. We betray. We backstab. We will push anyone down a flight of stairs to get ahead. Annabeth: This isn't the Arch, Seaweed Brain. You're not pushing me into the stairwell aagain. Percy: Yes I am! [...] It's why you're here. When I was choosing my team, I told Chiron I needed someone who wouldn't hesitate to sacrifice me if the quest required it. He agreed. That was you. [...] You're better at this than me. You just are.
Annabeth: [Refusing to get back in Athena's good graces] It isn't how it should be! It isn't. Eat or be eaten [referencing the Kronos story Ares said earlier]. Power and glory and nothing else matters. Ares is that way. Zeus is that way. My mother is that way. He isn't that way. He's better than that. Maybe I was that way once. But I don't wanna be that way anymore. I won't be like all of you. I just won't.
But we also see this visually.
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And to be clear I think it's well done, I'm not saying this kind of thing is a Masterpiece™ but what I am saying is that if you do these things, it's a great way to convey information to your audience visually and a sense of progress both in individual characterization and relationship development. And it just makes sense to lean on things visually if you're a visual medium, because prose can't do framing like this to the same degree.
And NATLA just... never does it. There's almost no real parallels, there's very little framing happening, and the even more intense overload of exposition does not help matters in this way either. The original series had a lot of parallels steadily built up (i.e. Aang's presence in the SWT and Sokka's plotline in Jet -- hell, even some of the lines he gets at Roku's Fire Sage temple -- were to show how Sokka was moving away from a more xenophobic worldview even if it was still a work in progress). There were also more overt ones, such as Sokka dressing himself for battle versus Zuko having guards/servants do it for him, but both ultimately tether the two together into having to put on a performance of confidence, manhood, and war more so than being the children they actually are.
And NATLA just has... no real visual parallels. The closest we get is the parallels between Sokka-Yue, Tui and La, and Kataang in the finale, but that's about it.
There's not a lot of scenes where a character is presented the chance to make a similar choice only to then make a different one. Even Aang wanting to go to the NWT to make a difference is muted because he never actually ran away in the first place; when you rip away character flaws or mistakes, you also gut their room for growth. When you strip away visual storytelling, it means that what you see on screen is a 1:1 of exactly what you're getting, and that is just a lot more Boring to watch as well as gutting your chances to show more character exposition. And it's just - it's just not good
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tuhainkahan · 10 days
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“May we stop seeing ourselves through the eyes of people that never saw us.”
— Shane Steele.
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caleohateclub · 1 month
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Paul Matthews? ahaha... I think you mean, Paul Blofis (please accept my crack fancast please)
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shattereddteacup · 8 months
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The Bear (s2)
Dir. Chrsitopher Storer, Joanna Calo, Ramy Youssef
Language: English
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ninacarstairss · 5 months
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honestly hearing percy utter the name kronos added ten thousand years to my lifespan because WHAT DO YOU MEAN I AM REALLY WATCHING PERCY JACKSON REALIZE THAT KRONOS IS RISING ON MY SCREEN IN 2024 HOW IS THIS EVEN REAL LIFE???
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vox-anglosphere · 5 months
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Downton Abbey's grandest dame
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Perfectly cast, Maggie Smith stole every scene as the matriarch of Downton Abbey in this beloved, long-running, TV period drama.
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maturemenoftvandfilms · 10 months
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Inspector Morse (TV Series) S8/E5 'The Remorseful Day' (2000) - James Grout & John Thaw
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elenanumbertwo · 2 years
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bubblesxo · 3 months
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The whole shtick of Haly’s in Gotham gives me MAJOR “Something Wicked This Way Comes” (by Ray Bradbury) vibes.
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film-o-teka · 9 months
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The Benny Hill Show
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universoausteniano · 4 months
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From Pinterest ❤️
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tuhainkahan · 10 days
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"If you inherently long for something, become it first. If you want gardens, become the gardener. If you want love, embody love. If you want mental stimulation, change the conversation. If you want peace, exude calmness. If you want to fill your world with artists, begin to paint. If you want to be valued, respect your own time. If you want to live ecstatically, find the ecstasy within yourself. This is how to draw it in, day by day, inch by inch."
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hauntingyouwithpjo · 4 months
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Bitches be saying some big ass words and I’m just agreeing (trying to understand what the heck is “i seldom cahoot”)
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