myanafavcami

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Max Verstappen of Oracle Red Bull Racing and Netherlands and Sergio Perez of Oracle Red Bull Racing and Mexico during the Honda Racing Thanks Day 2023 at the Mobility Resort Motegi on December 3, 2023 in Motegi, Tochigi Prefecture, Japan.

🎥: Honda Racing Global Japanese

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🏳️‍🌈?

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HELP LMAO

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THE BEST THING EVER

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S1 Eloise: “How does one become with child?”

S5 Eloise: “Was it thirteen, no fourteen, I mean fifteen technically since we both…*blushes* did I really kissed him there?”—*daydreams* his mouth, his teeth, his tongue…. 🌱💌🔥💋

Damn Eloise 🤭

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Adam Driver and Daisy Ridley

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“You can't stay on this island forever. We need your help Ben.”

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i’d choose you

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Knives Out 3 should just be the cast of The Last Jedi but all with different accents than their normal ones and all playing wealthy douchebags. Except for Kelly Marie Tran who plays the protagonist character.

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Sir Phillip was, in his own strange way, hers. The one thing she’d never had to share with anyone. His letters were bundled and tied with a purple ribbon, hidden at the bottom of her middle desk drawer, tucked underneath the piles of stationery she used for her many letters. He was her secret. Hers.

To Sir Phillip, With Love by Julia Quinn

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To Sir Phillip with Love easter eggs: 2.04 | 2.05

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Bridgerton Siblings + Love Interests

Credit: @marlenadia

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Daemon watching Rhaenyra dance with Laenor. Aemond watching Helaena dance with Jacaerys. HOUSE OF THE DRAGON “We Light The Way” (2022) dir. Clare Kilner. “The Lord of the Tides” (2022) dir. Geeta Vasant Patel.

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And to furthermore read into “nonsense”…

This is not a “pro-Helaemond” post. It’s a straight-up “Helaemond IS REAL” post. I mean, I already wrote extensively about Helaemond being real, but it got deleted with the rest of my old MlfcntRx account due to it becoming infested by unblockable bots. It’s lost in the reblogs now. But I didn’t discuss visual subtext using a little, commonly-used filmmaking technique called “scene blocking.”

The Visuals In Question:

A Brief Lesson On “Scene Blocking”:

Blocking isn’t only about working out sight lines and stage movement—it also determines where you want your audience to look and how you want them to emotionally engage with a scene.

[Blocking] has evolved to mean working with performers to figure out the actors’ movements, body positions, and body language in a scene. In cinema, the blocking process also involves working out the camera position and camera movement, and can impact the lighting design, set design, and more. It is thus an essential part of the planning process during preproduction.

Blocking can be an art unto itself, and is similar in many ways to the choreography of a dance. What are the characters actually “doing” in the scene? How can their motions embody the text? The movements of the actors can be crafted during the rehearsal process in artful ways that reveal additional subtext in the dialogue, as well as reflect the relationships between characters, direct the focus of the viewer, and create effective compositions for the camera.

How to Block a Scene: Blocking Actors for Film and Stage

In other words, when you have big scenes where there are a lot of actors, set pieces, movements, there is almost always going to be a lot of thought put into where actors are standing in relation to one another, what they’re doing, what they’re not doing, etc., all of which communicates information visually to the viewer. Blocking scenes before you film them is essentially how you help show the characterizations and the story beats and merge them with the technical aspects of camera work.

Application of Knowledge:

Exhibit A: “I would perform my duty if Mother had only betrothed us.”

The visual subtext: The inclusion of the word “only” is what sets Aemond’s statement apart from being merely about his sense of duty and responsibility. Including the word “only” is what tells you that he has feelings for Helaena. The text is underscored by the additional visual subtext provided in the actor’s body language: Swaying moodily and gazing sadly at Helaena offscreen. Aegon even repeats, “If only,” wishfully:

Exhibit B: Aegon, Aemond, and Helaena stand together at court.

The visual subtext: Aemond could easily have been positioned between Helaena and Alicent as it doesn’t mess up any technical aspects. But he is deliberately positioned between Aegon and Helaena to convey that he is an obstacle in the dead-from-the-start marriage of Aegon and Helaena:

Exhibit C: Aemond, Helaena, and Aegon seated at the table.

The visual subtext: This is a heavily-choreographed table seating and everyone was definitely placed very specifically for technical reasons, but also storytelling reasons. Aemond needed to be on the opposite end from Lucerys for their later pig scene and him being on the end of the table highlights his lone-dragon image. But Helaena could have been placed where Aegon is and it wouldn’t have affected the technicality of the camera work. However, she is specifically placed between her brothers because she is one of the many obstacles in the broke-from-the-start fraternal relationship of Aemond and Aegon:

Exhibit D: Aemond turns his chair around to watch Jace and Helaena dance.

The visual subtext: Aemond’s body language indicates he’s tense. It’s communicating that he didn’t turn his chair to merely be able to see the dance better. The fact he’s sitting so rigidly tells you he’s offended by Jace’s gesture:

Exhibit E: Aemond walks into Helaena’s room.

The visual subtext: Helaena, who was staring off moodily prior to his appearance, straightens and looks anxious when he steps into the room. Aemond looks visibly taken aback to find his mother in the room. His one eye darts suspiciously between Alicent and Helaena. Alicent also seems surprised to see him. The body language of everyone indicates that something is afoot other than Viserys’s death, which only Alicent knows at this point:

Exhibit F: Aemond goes into Protec Mode.

The visual subtext: Aemond and Helaena are deliberately framed and filmed together during a heightened dramatic moment to convey that Aemond and Helaena are a far more connected unit than Helaena and Aegon:

Long and short of all this is that everything that actors do in a scene, how they’re positioned and filmed, is deliberately planned and laid out because that’s how you tell a story visually particularly if there’s minimal dialogue, vague dialogue, or no dialogue in a scene.

So Helaemond is definitely a Real Thing on Aemond’s part.

It’s not entirely clear if Helaena feels the same toward Aemond, but she definitely doesn’t hate him.

Whether or not Helaena’s kids are Aemond’s is a little more debatable. But on that topic, I'ma just leave you with a scene from episode 6 where Alicent discusses Viserys’s refusal to acknowledge Rhaenyra’s kids are bastards with Larys. Notice how the camera lingers on Larys’s reaction to her adamant denial of the suggestion that she would also turn a blind eye if one of her kids tried to pass off bastards as heirs:

[myanafavcami]

And to furthermore read into “nonsense”…

This is not a “pro-Helaemond” post. It’s a straight-up “Helaemond IS REAL” post. I mean, I already wrote extensively about Helaemond being real, but it got deleted with the rest of my old MlfcntRx account due to it becoming infested by unblockable bots. It’s lost in the reblogs now. But I didn’t discuss visual subtext using a little, commonly-used filmmaking technique called “scene blocking.”

The Visuals In Question:

A Brief Lesson On “Scene Blocking”:

Blocking isn’t only about working out sight lines and stage movement—it also determines where you want your audience to look and how you want them to emotionally engage with a scene.

[Blocking] has evolved to mean working with performers to figure out the actors’ movements, body positions, and body language in a scene. In cinema, the blocking process also involves working out the camera position and camera movement, and can impact the lighting design, set design, and more. It is thus an essential part of the planning process during preproduction.

Blocking can be an art unto itself, and is similar in many ways to the choreography of a dance. What are the characters actually “doing” in the scene? How can their motions embody the text? The movements of the actors can be crafted during the rehearsal process in artful ways that reveal additional subtext in the dialogue, as well as reflect the relationships between characters, direct the focus of the viewer, and create effective compositions for the camera.

How to Block a Scene: Blocking Actors for Film and Stage

In other words, when you have big scenes where there are a lot of actors, set pieces, movements, there is almost always going to be a lot of thought put into where actors are standing in relation to one another, what they’re doing, what they’re not doing, etc., all of which communicates information visually to the viewer. Blocking scenes before you film them is essentially how you help show the characterizations and the story beats and merge them with the technical aspects of camera work.

Application of Knowledge:

Exhibit A: “I would perform my duty if Mother had only betrothed us.”

The visual subtext: The inclusion of the word “only” is what sets Aemond’s statement apart from being merely about his sense of duty and responsibility. Including the word “only” is what tells you that he has feelings for Helaena. The text is underscored by the additional visual subtext provided in the actor’s body language: Swaying moodily and gazing sadly at Helaena offscreen. Aegon even repeats, “If only,” wishfully:

Exhibit B: Aegon, Aemond, and Helaena stand together at court.

The visual subtext: Aemond could easily have been positioned between Helaena and Alicent as it doesn’t mess up any technical aspects. But he is deliberately positioned between Aegon and Helaena to convey that he is an obstacle in the dead-from-the-start marriage of Aegon and Helaena:

Exhibit C: Aemond, Helaena, and Aegon seated at the table.

The visual subtext: This is a heavily-choreographed table seating and everyone was definitely placed very specifically for technical reasons, but also storytelling reasons. Aemond needed to be on the opposite end from Lucerys for their later pig scene and him being on the end of the table highlights his lone-dragon image. But Helaena could have been placed where Aegon is and it wouldn’t have affected the technicality of the camera work. However, she is specifically placed between her brothers because she is one of the many obstacles in the broke-from-the-start fraternal relationship of Aemond and Aegon:

Exhibit D: Aemond turns his chair around to watch Jace and Helaena dance.

The visual subtext: Aemond’s body language indicates he’s tense. It’s communicating that he didn’t turn his chair to merely be able to see the dance better. The fact he’s sitting so rigidly tells you he’s offended by Jace’s gesture:

Exhibit E: Aemond walks into Helaena’s room.

The visual subtext: Helaena, who was staring off moodily prior to his appearance, straightens and looks anxious when he steps into the room. Aemond looks visibly taken aback to find his mother in the room. His one eye darts suspiciously between Alicent and Helaena. Alicent also seems surprised to see him. The body language of everyone indicates that something is afoot other than Viserys’s death, which only Alicent knows at this point:

Exhibit F: Aemond goes into Protec Mode.

The visual subtext: Aemond and Helaena are deliberately framed and filmed together during a heightened dramatic moment to convey that Aemond and Helaena are a far more connected unit than Helaena and Aegon:

Long and short of all this is that everything that actors do in a scene, how they’re positioned and filmed, is deliberately planned and laid out because that’s how you tell a story visually particularly if there’s minimal dialogue, vague dialogue, or no dialogue in a scene.

So Helaemond is definitely a Real Thing on Aemond’s part.

It’s not entirely clear if Helaena feels the same toward Aemond, but she definitely doesn’t hate him.

Whether or not Helaena’s kids are Aemond’s is a little more debatable. But on that topic, I'ma just leave you with a scene from episode 6 where Alicent discusses Viserys’s refusal to acknowledge Rhaenyra’s kids are bastards with Larys. Notice how the camera lingers on Larys’s reaction to her adamant denial of the suggestion that she would also turn a blind eye if one of her kids tried to pass off bastards as heirs:

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Helaena turning her head away when Aegon is crowned King.