#The way it transitions from one shot to the next and between visual effects?

[artheresy]

Just saw the Black Swan trailer and I adore it. It's giving me very similar vibes to Blade and Kafka's trailers, in which it is very atmospheric, not afraid to play around with visual effects and certain cues in order to establish a feeling, very strong color choices like if you notice those trailers it seems like they're basked in certain colored light sources which I adore, and the music ties in so well with the video, managing to stand out while also not obscuring or taking away from what any of the characters are saying. I really loved it, I am WAITING for Black Swan's theme to be released in full to listen to, C'mon hoyomix where's that album. All around I just love it

There is one thing I'll say... and it's not necessarily about the trailer more about Black Swan herself and her design, and it's that I think her design and concept for me at least (very important to emphasize that this is based on my own taste and thoughts) would be like 10 times more effectively esp in conveying her mysterious nature if her eyes were obstructed. I do plan to explain that more in a later post, but yeah I think she'd fit the mysterious bill a bit more if her eyes were covered somehow

[jerejerejere]

Well.

I guess I'm doing this...collection of observations from the autiomaa mv (i'm not going to call it an analysis) tonight after all 😅

So the mv starting out with a really short flash of the tear-illusion shot, then some short bursts of him in 2 locations in the mv, followed by a longer pan on a cracking facade...

The light effects on the wall look like being under water, which also kind of replicated by the fabric of his coat.

The following couple of scenes establish where he is - aimlessly wandering in some abandoned house - we zoom in intensely, almost uncomfortably close to his neck and eyes - he's making almost pleading eye-contact. He is wandering further, through the house, arriving at and entering

A staircase through a door, which closes after him.

To me, this signifies his decision to enter esc. The staircase can take you upwards - maybe signified by the lighted glass wall above. But what we see is not him confidently walking upstairs but being caught in that hallway, traveling up and down the stairs. He hasn't reached the upper floor and is caught in limbo. Alone with himself.

The therapist scene starts. He slinks in, hunched, making himself smaller than he is, drowning in his clothes. The session also takes place in a warehouse but it's set up in a way that it might as well be an interrogation.

He is pleading again - spilling everything out in the hope he's understood. However, what we see next is him talking/singing to a mirror image of himself. Either to signify he is talking to himself because the therapist doesn't listen and/or only he himself can truly understand and listen to his problems.

We get the photo scene - that one has been talked about at length

And that flash seems to start a transition in the video from where flashes were mainly used as separating element between shots to actually flashing on him physically and more relentless than before.

He is transversing more rooms and hallways - followed and faced by dozends of flashes from cameras, spotlights follow and corner him - he can't hide or evade.

He keeps traversing hallways and empty rooms but he seems locked inside - restless and defeated at the same time - either visual for his mind that he can't open up about but also very much likely his real life situation not being able to leave the house in peace.

He longingly stares out of the window. This is where i'll stick my neck out and say they deliberately recreated the visual from his Vogue shot in profile. I can only speculate but to me, it's to put something into contrast, either between then and now/after or maybe between outside vs inside. I mean. Look at it:

We see him(?) as a shadow behind the upper floor glass wall in the light - he made it there after all but we/his mind is still watching from below and can't make contact with that person up above.

His dance moves get more and more erratic, a bit like someone waiting and slowly going crazy from it.

Watching the headlines with the therapist seems to upset him. They are projected in stark white and big - because they are important to him, because they are bigger than him or because he is watching his own life happening like a movie but not feeling any of it as real. Others can't relate to it because it's just too uncommon and crazy. He realizes this while looking at his therapist, seeing how could anyone ever get it who hasn't gone through the same thing - he'll not have a chance to get this across.

His dancing gets even more lifeless afterwards - almost swaying in a traumatized manner barely holding himself upright, especially after the therapist proves to be useless and making things worse even. (To me, it's not quite clear what the cigarettes offered by the therapist signify - pharmaceutical drugs/tablets? The only way out is returning to his old vices?)

We end a little like we started - with an intense stare into his eyes. They are not pleading. They know. They see. (They demand better.)

Aaaand that's it for now. (I'm sure there will be one or two ''AND ANOTHER THING!'' but i'd love to hear from you also!!!)

Thanks for listening to my TED talk <3

[slayerkitty]

Visual Effects in Only Friends MV part 2

The second song on the Only Friends OST dropped today; So What? by the amazing Ford Arun. Much like the first MV for Only Friends, this one is also has visual frameworks that made me stop and stare.

Just like my first post on this subject, where I talked about the late 90s/early 00s aesthetic of the show as well as controlled voyeurism (aka we only see what they want us to see), these themes show up again here, but a little differently. Unlike the Let's Try MV and the BTS vids which use multiple different effects and transitions as well as framing a lot of the scenes to look like (possibly) 90s camcorder footage, So What? has two visual effects (I think technically three, and I'll point out why I say it this way in a minute).

The first one is the camcorder footage effect. Except that it's even different from the Let's Try MV. While the Let's Try MV has the "play" prompt onscreen and time stamps, it now, to me, feels more like CCTV video than camcorder video. The video effect on So What? is definitely camcorder footage because it is time and date stamped.

Now, the time and date stamp is February 1st, 2020 at 6:06pm for every screen it appears on, which to me cannot be an accurate date/time for any of the scenes. Several of these scenes were from episodes 4, 5, 6, or potentially yet to air. Chuem drops info about Covid in episode one and in February of 2020, we were so early into the pandemic during that time that I'm not sure she would have referred to it so casually, plus with no Covid precautions being taken onscreen it does feel the show is set currently (aka 2023).

Why this date? Why 6:06pm? WHAT IS JOJO TRYING TO SAY HERE? Is this a specific reference to something upcoming on the show? Is this date famous in Thailand for something? Did he just pull a date and time out of a hat?

Onto the second effect: the yellow text on the screen is back! It was heavily used as a visual effect in episode one, and after a discussion with @ignoranaxed I did add it to my Narrative Frameworks post where I'm tracking visual effects on the show. We discussed whether or not this was an homage or reference to SKAM Norway, an extremely popular coming of age teen drama that had an amazingly done queer season (Season three. If nothing else, stop what you're doing and go watch SKAM Norway season three. You can thank me later). The show was so popular it has been remade in Spain, Italy, France, Germany (named Druck), Belgium (named WtFock), the United States and has even been announced as a Korean (BL?) drama for next year.

Is this an actual homage? I came down on the side of maybe. I can't swear it is, but I can't say it isn't. That yellow text on the screen is iconic due to SKAM Norway, and it is used in every single remake of the show (if Korea doesn't use it, I will cry. Also, if Korea doesn't release/air it in the same way, I will cry). Leaving that aside, the yellow text is in Thai, and as yet, I have no idea what it says because my subs only translated the song lyrics, not the onscreen words. If anyone who knows Thai can help me with this, I would love you forever because there's one other thing that shows up in yellow on the screen, and it's this:

WHY AN ELLIPSES, JOJO? WHAT DID IT SAY BEFORE THIS? I NEED TO KNOW WHY IT'S TRAILING OFF. IS IT TO BE CONTINUED? THE NOT KNOWING WILL DRIVE ME INSANE.

Onto the third , but maybe not really an effect: Is Ford photoshopped in here?

I ask this because if he is (and I can't quite tell but I think maybe?) then does that mean this is future footage coming up on the show? Or, like Let's Try MV did with it's extra SandRay footage in the car, was this just shot for the MV? I'm curious to see what people think on this.

Now for the rest of the MV where I just melt down because WHAT THE FUCK IS THIS DRAMA BETWEEN YO AND PLUG, JOJO? YOU CAN'T DO THIS. Also, is this Sand hugging Yo?

You can't do this to my girl. This will hurt.

Do we think this is Boston and Nick potentially going ice skating or roller skating? Because if it's roller skating, JOJO I WILL LOVE YOU FOREVER.

In summary, the visual frameworks are back in play once again and what they're choosing to show and how feel important.

Tagging the ephemerality squad: @waitmyturtles, @wen-kexing-apologist, @ranchthoughts, @chickenstrangers, @lurkingshan, @twig-tea, @clara-maybe-ontheroad, @distant-screaming

Apologies to anyone I missed. If you would liked to be tagged in my OF posts/meta, please let me know and I will add you.

[angletic]

How do you come up with the compositions for your comic pages? They look soooooo 👌

short answer is: i hardcore wing it

long answer: i have a very hard time visualizing things in my head. i go into something knowing the list of things i want to communicate and try to construct something thats aesthetically pleasing while accomplishing those goals. i personally think that its very good for me: i never feel bad for not reaching some insane standard in my head, because theres no standard in there. i just ask myself if i checked all the boxes on my list and if the page(s) look good, and if i did im satisfied!

as for page composition itself, thumbnailing is a super important part of the process for me. it helps me lay out not just the panels, but also the speech bubbles. never ever ever design a page and think you can add the speech bubbles wherever theres negative space: a comic is just as much words as it is art; treat them as equals.

i like to do thumbnails in batches (at least to the end of a scene) so i know how things flow together and i can ensure that the scene ends at the end of a page, and what pages are on an even or odd page (this informs the placement of page turns, which are very important when it comes to comics. theyre one of the few bits of control a comic artist has over their reader: the reader can turn the page whenever instead of having media happen At them as an a show/podcast. The reader controls the story and its flow in a sense. however, page turns reef control back from the reader and force them to engage with the author on their terms: you may get to control WHEN you see what comes next, but you do not get an inclination as to what that is. you allow them to subconsciously build up the the change/shift in space/jump in time in their head as a scene ends, or the suspense of what could be on the next page if your scene is dramatic. very important both for doing shocking scenes, but also for differentiate between soft and hard scene transitions.)

im also very careful to minmax the number of panels i need to execute a scene. use the minimum number of panels to communicate the most information possible. when i was first learning to comic way back in my syrup steals days, i had to teach myseld to not clutter a page with smaller panels (this was an especially frequent issue with eye panels. i looved having a small panel at the corner of a larger one just showing a characters' eyes reacting. while effective in small doses, this clutters up your pages like crazy). you have to be comfortable leaving things implied and trusting your audience will get it.

i also do not fuck around with establishing shots. even a lot of professional comic artists will only use them at the beginning of a scene and typically its just one big wide shot, which works for movies where scenes are in motion (motion inherently implies space better than a still image), but not so much for comics. i think its both more engaging and informative to microdose on establishing shots at all times. one establishing shot will never be enough to describe where characters are fully. i think its good to get in the habit of treating environments like characters themselves: you want everyone to see every angle of your oc? do that with your environments. it both breaks up the monotony/prevents you from shot-reverse-shot-ing, and also provides a lot of visual information about the space a character is in (and gives lots of opportunities to foreshadow!). this is especially important to do in action scenes: it is so damn easy to lose where a character is in a fight scene, to the point where it just becomes visual noise. you NEED the space characters are in to be well-established before and during a hectic scene, or readers will get lost and be unable to fill in the gap.

of course you need to be efficient here as well: minmax your panels! do establishing shots while characters are talking! explore the space in interesting ways even when something not that visually interesting is going on!

really, the constant dynamic establishment of location, minmaxxing of panels, and equal treatment of panels and speech bubbles are what i think are the most important things when it comes to page layout. this sort of became an Angs Guide To Comicking lol, but i tihnk its useful information. thank you for asking!!

[uugrtumb]

Rat Cosmos

Here’s the cave dark purple with smoothly curved walls open air above blank void floating red cubes. Red cubes glowing softly, rotate on move. Rare event known one in sixty five thousand five six five or thereabouts. No effect of global interest but still draws attention. Walk back and forth and cubes rotate in sync. Self interlocked with local environs depersonalization of interest wrt larger thematic purpose we consider the rarity and inexplicability of the event as signal Yume Nikki no 3D space Dream Emulator yes why here though not certain to be determined by following scenes. No mobs. Long tunnel strictly linear. Look mismatched texture right forward and below. Lower. Yes item pressed inelegantly against wall otherwise invisible. Borton’s Club collect. Plus fifty-three lightning interesting possibly pricey no use though as running strict Purity build need wisdom minmax. Can’t spare for whimsy in primary weapon slot. Other statistics nominal. Bottom of bag.

Keep going down cave longer than expected bored try to move faster now ignoring red cubes. Next sudden transition all white. No shadows consequently distance to walls cannot be determined. Tunnel one end brown door other, termina provide only positional grounding. Luckily straight shot. Hidden spatial information means likely secret. Press against walls and stare at tunnel exit watching for sudden slip of movement, move back and repeat, continue motion across one wall. Found nothing same other wall. Halfway through slip and tunnel exit no longer visible found it. Unfortunately now termina hidden by secret maze wall no longer capable of visual positioning. Move by touch. Small area and so quickly encounter a fairy.

Orange head green body. Says nothing but offers integration fourteen p at forty-eight percent. Dilemma. Fairy silence is ambiguous could be oblique nature or simply shy but more likely the former given hidden maze location. Check p, over one hundred twenty but painful finitude sense regardless no over one hundred twenty means hoarder instinct to be resisted. No fairy in seven plus hours means unlikely to find better options any time soon. Still ambivalent oblique fairy will be a nuisance until minimum three hours and might be dead by then anyway. Seven plus hours with no fairy contained pleasant simplicity realizing general dispreference. Might be a mimic fairy no mimics can’t have orange head. Decide against and walk backwards lack of visual positioning worse on the way back. Several minutes of bumbling between walls eventually catch tunnel exit. Other direction towards brown door.

Move to open door STOP shuddering effect black haze on edges circular particles drifting inward towards visual center. Garbage zone. Only single use poison cures and risk long vertical drop no means of spatial anchoring. Risk of bag golems. Low mood not ready nothing to really look for down there. Bag golems drop brown helmet twenty percent chance and higher wisdom than current but could likely purchase better within the hour w/ profits from lightning club. Turn around back down white corridor towards red cube tunnel.

Tunnel feels longer. Cube rotation angle may have changed but hard to tell. Suddenly need purpose. Where am I. Goals meanings goals. Purpose. Trying to maximize purity build for Fralzago. Higher. Higher. Check progress. Sixty-one percent. Higher. Higher. What is this where am I. Why. Phenomenal experience precedes conscious desire. Meaning inherent in ongoing production of sense-data. Sight sound touch motion. I am only shepherd. Higher. Higher. Wait no lower. Check progress. Sixty-one percent. It was sixty-three yesterday. Backsliding somehow. Something possibly lost stop in tunnel and check. Check. Check. No nothing lost all progress at expected points but additional requirements have been added. Dammit. All is obligation. Skim additional requirements but nothing severe likely to be fulfilled in natural course of events, still pained by backsliding. Speed up to compensate. Must be more efficient.

End of tunnel now return to red docks. Torches at regular intervals hung unsuspended above regular wooden texture but large intricate surface geometry when seen from above. Easy to get lost luckily nothing to do now but retrace steps. Ghosts flit by pay me little mind I return the favor. Proud. Non hostile ghosts difficult to maintain requires careful resource management up to approx twenty percent too easy to slip in managing cultural codes but well worth it never forsaken and well scaled trade. Yellow ghost I say hello it says yes I ask price for lightning club but no interest limited selection mostly tinctures and single use herbs I say thank you it says pleasure to make your acquaintance. Limited conversational options means likely non recurring. Loading zone soon as I approach boat and it will cease. Sad little creature I consider buying something to commemorate its existence but already in other direction not worth turning back too late now anyways there will be more yellow ghosts.

Boat slower than usual but nevertheless I choose Triania at ten point zero miles not Myceliorum at seven point four miles despite greater distance need a larger city at this dreary moment. Boat man elderly possibly early stage senility. Ask questions. Question one how long have you been working these docks question two do you have any kids question three have you ever considered getting into astrology question four where do you live spots contradiction. Question one answer forty three years since moving south but question four answer Doghouse Grove born ‘n raised ‘n gonna be buried there but Doghouse northwesterly one hundred thirty one latitude too far to be coincidence confirms early stage senility. Continue motion in silence.

Check progress again. Additional requirements more cumbersome than initial read incl. two kills in a row without weapon obviously expecting astral projection exploits will be unbearable to set up certainly easier with oblique fairy dammit dammit could be worth turning around. Maybe. Nevertheless continue slow boat ride lacking rational cause. Just not another long walk purple tunnel red cubes. Slow dreary want action. Where am I. Stop ask again question three. Skimmed previously but answer longer than expected. Same answer second time lucky early stage senility mitigates refusals. Old man says used to imagine astrology containing depths of beauty but preferred the imagining to the searching and so no attempt to practical application. Details of imagining forgotten leaving only imprint of lost fantasy like tears in rain etc. “Desire only the feeling of desire.” And folly of youth only now age perspective loss etc. Conventional conclusion for male boat drivers homogeneously depressive character. Still surprising length multi paragraph deliberate carefully sincere maybe autobiographical. Who is this talking. No name.

Seems increasingly slants towards desirelessness theme in conversation when exiting from red docks not matching all past data points so maybe noise but could be weighted random. Possibly overthinking. Red docks bleak sort of place transitional to hidden or esoteric as in the seen red cube and white hall events but alternative possibilities blue staircase and fallen bookshelf events similar in nature. Symbols suggest bleakness as precursor for insight or invocation to reach the unknown but spoils of exploration relatively bland one club and missed oblique fairy ultimately falls flat other areas do better six out of ten. And fucking garbage zone bag golems could have gotten lucky and rosemary island instead. If rosemary island and chance boot drop twenty three wisdom or higher could have Fralzago fight by now. Cruel fate to be rendered asymbolic. Deceleration. Where am I.

Finally in Triania thank you choose effusive over polite no good with subtlety for the old man in early stage senility. Large tip twenty five percent why not. Check time three AM and two. Rain appears in brief flashes against the white of windows in apartments but only light showers ground not damp and disappears against skin. Aimless wander. Need to be more efficient. Check need for sleep still rested from unconscious maintenance of various exhaustion management exploits must have been doing it on boat and in red cube tunnel while distracted. Still might be worth three to four point five hours at the very least a dream would be nice. Sell lightning club first. Spot apothecary. Serendipity.

Apothecary takes lightning club one hundred thirty three point three percent asking price claiming personal historical interest in Borton. Canned response stretches suspension of disbelief if these generic goods hawkers are to be believed half the city has personal historical interest in every single person who ever had a club named after them. Purchase tincture of blue mugwort. Buy one get one free. Accept. Walk outside turn to next store offers mechanical parts sell second tincture of blue mugwort for tiny profit hardly worth the opportunity cost. If you spot and pick up a penny on the ground the efficiency cutoff is approx 3 seconds past which point you would have been working for less than minimum wage. What is a penny.

Hotel for sleep. Drink blue mugwort effect sleep skip to REM next eight hours. Low quality taste expect seventy to eighty percent effectiveness given canned response in apothecary. New hotel visible in distance aiming for thirty hotels slept in total. Six of eight cleared in Triania chose bigger city for this and similar. Cut through alley, mugger. Blue orb blue orb. Small profits dropped knife. Ignore not worth clutter. Two more muggers but they run. One has blackened knife could kill take melt knife later for liquid obsidian. Check bag two liquid obsidian want five or six worth it. Look back muggers gone oh well. Revisionist instinct reframe as conscious mercy. Kindness to spare cowardly muggers. False. Muggers are killed but they do not die. Cannot have mercy without consequence.

Near hotel, step in mud. Slow for thirty seconds. Approach front door becomes glacial pace. Where am I. Retrospect red cube tunnel as subject of future dreams. Unlikely given last slept four days ago more fruitful materials available for unconscious regurgitation. Forgetful of details. Could be nine fire elementals altar of globes was ten AM and two nights past. Three AM and twenty four now so approx sixty five hour distance. Or something better but lost in memory fragment bubble. Blue mugwort tincture produces false lethargy intermittent bursts. Side effect not listed slipped out of mind. Will persist after wakeup could extend sleep. Can’t can’t can’t need to be more efficient. Dammit. Dispiriting but limited serious impact can push through. Unpleasant morning ahead. Already in elevator room ninth floor. Desk conversation automatic benefits of conversation in hotel strictly limited. Unable to encounter credulous or clueful options in hotel desk conversation tree. Could have encountered political. Many other chances for political in Triania.

Enter room wall texture identical to outside. Lazy. Ablutions and attempt ritual contact of tarantula goddess. Extraordinarily unlikely hail mary even repeated across months but quick ritual only two minutes. Reach in bag access discarded webbings burn with lighter scatter around mirror. Say the words. No room for decision in ritual invocation. Wait twenty seconds. Wait. Wait. Wait. Wait. Wait. Wait. Nothing. Disappointment muted by repetition. All for the best as answer whether to kill tarantula goddess still uncertain heard venom staff weakens every year. Eventual summoning unavoidable but multiple behaviors compatible with progress. Where am I goals meaning goals purpose sleep soon. Sleep now.

Sleep now. Blue mugwort hypnagogia direct into REM shuddering jolting sensation goes into red blue bubbling white white. Red cubes. Now time the intravenous arrangement get off my skin get off off you own this hold up IV bag fluid this is yours plus two in the bag. Need to work out twenty three plus seventy three ends in six eighty ninety but what question but forgotten means the butterfly count is off. The butterfly count is wrong too many. They swarm my head. Circle eyes grab one two more appear. “They lift me up in mercy”. What is above. Look but can’t. Eyes cast downward funeral procession. Who is dead I cannot look up to see. Why do we mourn when there is no more death. Someone up front stands at podium has the answer I approach. Looks so serious and this must be a punishment. Mourning is a curse that precedes death he grins wide and his pupils expand to fill his eyes and it seems he should be laughing but he does not so I laugh for him but it does not sound right he can see my laugh is false and his would be otherwise so I try to laugh lower or higher but still wrong and he reaches sharpness in bladder wake up.

Shamble to piss. Look in mirror. Looks alive. Shamble to piss but something is wrong. Not a hotel bathroom too dirty. Check mirror again. One hundred and forty four crisp frames per second. Can’t piss. Look down no lower body. Disintegrating upward soon nothing below shoulders. Not awake still dreaming. Red cubes in the mirror. Move and they rotate see self reflected in local environs. Red cube comfort dissolves nightmare. Only sleep. Phenomenal experience sight sound taste motion. Color. Purple tunnel red cubes. Color. Color. Only dreams. Watch texture on wall. Shape and geometry. Sudden clarity says sleep for approx three point five hours to maximize. Even in blue mugwort tincture REM dream modality there is no escape from clarity. Purple tunnel red cubes. What is being maximized.

[my-music-1460]

Adding Music to Instagram Reels: A Creative Approach

Instagram Reels are a fantastic way to showcase your creativity and engage with your audience. One of the key elements that can take your Reels to the next level is the addition of music. The right track can set the mood, enhance the story, and make your content more captivating. In this article, we'll explore a creative approach to adding music to a Reel on Instagram, ensuring your videos stand out.

Music is a powerful tool in storytelling. It can evoke emotions, highlight important moments, and add a layer of professionalism to your Reels. By understanding how to effectively incorporate music into your videos, you can create more engaging and memorable content. Whether you're an aspiring influencer, a business owner, or just someone who loves sharing moments from their life, this guide will help you use music to elevate your Reels.

Step 1: Access Instagram Reels

To start, open the Instagram app on your smartphone. Ensure you have the latest version of the app to access all the new features. Tap the "+" icon at the bottom center of the screen. This will give you several options for creating content, including "Post," "Story," "Reel," and "Live." Select "Reel" from the options that appear.

Step 2: Explore Instagram's Music Library

Once you're in the Reel creation interface, tap the "Music" icon on the left side of the screen. Instagram's music library is extensive, offering a wide variety of genres and tracks to choose from. You can browse through popular songs, explore different categories, or use the search bar to find a specific track. Instagram regularly updates its music library, so you'll always have access to the latest hits and classic favorites.

Step 3: Choose the Best Segment of the Song

After selecting a song, you need to choose the best part of the track for your Reel. Tap on the song to preview it, and use the slider at the bottom of the screen to select the segment you want to feature. Instagram allows you to use up to 30 seconds of a song, so pick the most impactful part—whether it's a catchy chorus, an instrumental drop, or a memorable verse. This choice is crucial as it sets the mood and tempo for your entire video.

Step 4: Record Your Video

With your music selected, press and hold the record button to capture your footage. You can record multiple segments by releasing the button and pressing it again to resume recording. This feature allows you to capture different scenes, angles, or actions, making your Reel more dynamic and engaging. Utilize Instagram's creative tools, such as effects, filters, and text overlays, to enhance your video. For instance, you can use slow-motion effects to emphasize certain moments or add text overlays to provide context or captions.

Recording tips for an impactful Reel:

Lighting: Good lighting can significantly improve the quality of your video. Natural light is best, but you can also use ring lights or other artificial lighting to brighten your shots.

Stability: Use a tripod or a stabilizer to keep your camera steady and avoid shaky footage. This will make your Reel look more professional.

Composition: Pay attention to the framing of your shots. Use the rule of thirds to create balanced and visually appealing compositions.

Variety: Capture a variety of shots, including wide angles, close-ups, and different perspectives. This will make your Reel more interesting and dynamic.

Step 5: Fine-Tune Your Reel

Once you've finished recording, tap "Next" to review your Reel. This step is crucial for polishing your video and ensuring everything looks perfect. Use Instagram's editing tools to trim clips, adjust the timing, and sync your video with the music. Pay attention to details like the transitions between clips, the placement of text, and the overall flow of your Reel. Adjusting these elements can make a significant difference in the final product.

Editing tips to enhance your Reel:

Transitions: Smooth transitions between clips can make your Reel more visually appealing. Experiment with different transition effects to find what works best for your content.

Text Overlays: Adding text overlays can provide context, highlight key points, or add a fun element to your Reel. Make sure the text is clear and easy to read.

Filters and Effects: Use filters and effects to enhance the visual style of your Reel. However, be careful not to overdo it; the goal is to complement your content, not distract from it.

Volume Adjustment: Ensure the music volume is balanced with any other audio in your Reel, such as voiceovers or ambient sounds.

Step 6: Add Captions and Hashtags

Before sharing your Reel, take the time to add a compelling caption and relevant hashtags. Captions can provide context, tell a story, or encourage viewers to take action. Hashtags, on the other hand, increase the discoverability of your Reel by making it visible to a broader audience. Use a mix of popular and niche hashtags to reach users who are interested in your content. Additionally, consider tagging relevant accounts or locations to further increase your reach.

Tips for effective captions and hashtags:

Engagement: Write captions that encourage interaction, such as asking questions or prompting viewers to share their thoughts.

Relevance: Use hashtags that are relevant to your content and audience. Research trending hashtags in your niche and incorporate them into your posts.

Brevity: Keep your captions concise and to the point. Long-winded captions can lose the viewer's interest.

Step 7: Share Your Reel with the World

Now that your Reel is ready, it's time to share it with your audience. Decide where you want to share your Reel—in your feed, Stories, or both. Sharing in multiple places can help maximize your reach and engagement. Tap the "Share" button to publish your Reel. Once it's live, engage with your audience by responding to comments, answering questions, and encouraging viewers to share your content. This interaction can boost your Reel's visibility and help you build a loyal following.

Step 8: Analyze Your Performance

After sharing your Reel, take some time to analyze its performance. Instagram provides insights on how your content is doing, including views, likes, comments, and shares. Understanding these metrics can help you identify what works and what doesn't, allowing you to refine your strategy for future Reels. Pay attention to which songs, video styles, and hashtags perform best, and use this information to guide your content creation process.

Performance analysis tips:

Engagement Rates: Look at the engagement rates (likes, comments, shares) relative to the number of views. This can help you understand how well your content resonates with your audience.

Audience Demographics: Review the demographics of your viewers to see if you're reaching your target audience.

Content Comparison: Compare the performance of different Reels to identify patterns and successful elements that you can replicate in future videos.

Step 9: Stay Updated with Trends

Instagram trends are constantly evolving, and staying updated with the latest trends can give your Reels a competitive edge. Follow popular creators, monitor trending hashtags, and keep an eye on the music charts to see what's currently popular. Incorporating trending elements into your Reels can increase their visibility and appeal, attracting more viewers and engagement.

Staying updated with trends:

Follow Influencers: Keep an eye on popular influencers and creators in your niche to see what trends they're following and how you can adapt them to your content.

Trending Music: Regularly check the "Trending" section in Instagram's music library to find popular songs that can boost your Reels' appeal.

Hashtag Challenges: Participate in hashtag challenges that are relevant to your content. These challenges often have high visibility and can help your Reels reach a wider audience.

Step 10: Experiment and Innovate

While following trends is important, don't be afraid to experiment and innovate with your Reels. Try out new music genres, video techniques, and creative tools to see what resonates with your audience. The more you experiment, the more you'll discover unique ways to captivate your viewers and stand out in the crowded Instagram landscape. Creativity and originality are key to keeping your content fresh and exciting.

Experimentation tips:

Music Variety: Experiment with different music genres and styles to see which ones resonate best with your audience.

Creative Tools: Explore Instagram's creative tools, such as AR effects and interactive stickers, to add a unique touch to your Reels.

Content Themes: Try out different content themes, such as behind-the-scenes looks, tutorials, or user-generated content, to keep your Reels diverse and engaging.

Conclusion

Adding music to your Instagram Reels can significantly enhance their appeal and engagement. By following these steps, you can create captivating content that resonates with your audience. Start experimenting with different tracks and styles to find what works best for your Reels. Remember, the key to a successful Reel is not just the music but also how well it complements your visuals and enhances the overall storytelling.

Creating Reels that resonate with your audience requires a mix of creativity, technical skills, and an understanding of your audience's preferences. Don't be afraid to experiment with different genres of music, video styles, and creative tools to find what works best for you. The more you practice and refine your technique, the more impactful your Reels will become.

[wagmi-mga2024mi5019]

My Ideas for the Animation (Each Hat)

I feel like using a mascot or character to tie the different segments together would indeed work well within the parameters of the brief, since it says we need to have Visual Coherence, Experimental Approach and also Conceptual Clarity. I would be employing match cuts as my preferred transition to have a seamless and interesting transition between the different scenes.

BLUE HAT: Introduction to BDD - Cutout Animation

In the first 5 seconds of the animation, I'll include a title and introduce the animation and the topic covered in it.

WHITE HAT: Factual Information - 3D

Since BDD is a clinically proven disorder and is still being actively studied, I want to give the idea of someone being tested, like a lab rat. There's a lot of statistical and quantitative data on BDD as a whole, and because of that, sometimes researchers might not consider the human aspect of these people.

Having a person standing in the middle of the screen while a few people dressed in lab coats study them, without paying attention to their sad expressions, would be a good way to show that BDD is a clinical disorder that is being studied and researched. It will also show how this person has a negative body image through contextual clues in the background and through the person's body language.

RED HAT: Emotional Aspects - 2D Animation

Negative body image and BDD specifically have a lot of emotional aspects to them. It's a disorder that affects a person's mood in a drastic way. Extreme emotions can arise for people suffering from BDD, so I definitely want to incorporate how this character feels.

The screen zooms into the character in the middle as a spotlight shines on them while the background slowly fades away into black. We see tears falling from the eyes of the character, showing their emotional distress caused by their negative body image.

BLACK HAT: Negative Consequences - Charcoal Animation

The consequences of poor body image and BDD, in general, are plentiful, with a low quality of life being one of the main drawbacks. You are less sociable and less confident.

This can be depicted well in the animation. As the camera pans out, it shows the character on a bed (top-down shot). The character is restless and is tossing and turning in their sleep, which indicates the low quality of life they are experiencing as a result of the stress. There can be several added effects that personify the voices in the character's head.

YELLOW HAT: Positive Effects - Collage Animation

There are multiple benefits to having a positive view of yourself. People suffering from BDD have a hard time doing this, but it isn't impossible. People with BDD can grow to love themselves and enjoy the benefits of a positive body image.

To show this in my animation, the character slowly starting to get up and socialize. I would like the other characters to be shown as simple shapes rather than humanoid, to subtly say that the character doesn't care what they look like. To him, they're all unique and different. He has learned to accept himself and also others around him.

GREEN HAT: Creative Solutions - 3D/2D mix

There are not many solutions to BDD, but new innovations can definitely aid people who suffer from this. Aside from CBT, we can think ahead and think about other ways people could get help, specifically from AI.

I feel like it would be pretty creative if the character were to appear in a therapist's room, lying down, next to a robot acting as the therapist. This symbolizes the AI aspect of psychotherapy and how it could be used to aid people who aren't comfortable with other people—personalized therapy, basically.

[just-a-keener]

Types of Cuts & Transitions

CUT ON ACTION: A cut that happens mid-action

CUT AWAY: Cuts to an "insert shot" of something, whether in the scene or somewhere else.

CROSS CUT: Cutting back and forth between locations/events (e.g. phone conversations)

JUMP CUT: Cutting within the same shot, usually to show the passive of time. Creates a jerky/jarring effect.

MATCH CUT: Cutting from one shot to a similar shot that is connected in some way (visually, compositionally, audio, etc.)

FADE-IN/FADE-OUT: Dissolving to/from black

DISSOLVE: Blending/fading into another shot. Can represent passing of time.

SMASH CUT: Intense transition (e.g. going from intense to quiet)

IRIS: Circle that closes in, to mimic eyes closing in.

WIPE: Screen wipes across.

INVISIBLE CUT: Cutting with the illusion to make it seemless, but really it's occuring in black screen, or in motion, or when an object passes across the frame.

L-CUT: When audio from one shot carries over to next shot. (can be used often for minor things like conversation audio)

J-CUT: When audio from the next scene plays in its previous scene.

Source: RocketJump Film School - Cuts & Transitions 101

[golfswingdoctorca]

Mastering Your Golf Swing: 3 Easy Steps to a Professional Swing Plane

A powerful and consistent golf swing is the Holy Grail for every golfer, whether you're a seasoned pro or a weekend warrior. One key element that can significantly improve your game is achieving a professional swing plane. The golf swing plane refers to the imaginary surface that your club head travels along during the swing. A precise and well-executed swing plane can lead to greater accuracy, distance, and overall performance on the golf course. In this guide, we'll explore three easy steps to help you achieve a professional swing plane and elevate your golf game to new heights.

Step 1: Establishing a Solid Setup

The foundation of a professional swing plane starts with a solid setup. Begin by addressing the ball with your feet shoulder-width apart, ensuring that your weight is evenly distributed between both feet. The ball should be positioned in line with the instep of your lead foot, allowing for proper alignment. As you take your grip, make sure your hands are positioned directly below your shoulders, promoting a neutral and natural stance.

Next, focus on maintaining a straight back with a slight tilt at the hips. This posture sets the stage for a more efficient and on-plane swing. Visualize a straight line running from the club head through your hands and up to your shoulders – this alignment is crucial for achieving a consistent swing plane. Take the time to perfect your setup, as it forms the basis for a professional swing that can be repeated with accuracy.

Step 2: Mastering the Backswing

The backswing is a critical phase that sets the stage for the downswing and impact. To achieve a professional swing plane during the backswing, prioritize a one-piece takeaway. Ensure that your club, hands, and arms move together as a cohesive unit. This promotes a smoother transition and helps keep the club on the desired plane.

As you initiate the back swing, focus on turning your shoulders while maintaining a stable lower body. Avoid excessive lateral movement, as it can lead to inconsistencies in your swing plane. A common mistake is over-rotating the club face, resulting in an open or closed position at the top of the back swing. To counter this, practice a controlled and controlled rotation of the shoulders, keeping the club face square to the target line.

Step 3: Executing a Controlled Downswing

The downswing is where the magic happens, and achieving a professional swing plane at this stage is crucial for a powerful and accurate shot. Start the downswing by initiating the movement from the lower body, allowing the hips to lead the way. This sequence promotes a natural inside-out swing path, contributing to a more on-plane delivery to the ball.

Focus on maintaining a smooth and controlled tempo throughout the downswing. Avoid the temptation to rush, as it often leads to a loss of control and balance. As you approach impact, ensure that your hands lead the club head, allowing for a crisp and well-connected strike. The goal is to deliver the club head to the ball on the same plane established during the back swing, resulting in a consistent and professional swing.

Conclusion:

Achieving a professional swing plane is within reach for every golfer, regardless of skill level. By mastering the basics of setup, back swing, and downswing, you can build a foundation for a repeatable and effective golf swing. Consistent practice and a focus on these fundamental steps will lead to improved performance on the course. Elevate your game and experience the joy of a professional swing plane with Golf Swing Doctor – the key to unlocking your full golfing potential.

[josephfebin]

Practice 1: Developing Skills_Influences and Inspirations

I have selected ‘Light and shadow’ and ‘Memory and nostalgia’ works from five weekly exercises for further development. Animated shorts and feature films inspires me, I can’t specify as each one excels in different ways. As related to my study, 'Luca (2021) the animated movie by Pixar animation studio for Walt Disney Pictures and directed by Enrico Casarosa, Is the one of the inspiring great work to my zealous feel towards the beauty of animation. With praise for its visuals, voice acting, and nostalgic feel the film was nominated for Best Animated Feature Film at the 79th Golden Globe Awards and the 94th Academy Awards' (“Luca (2021 Film)”).  My first exercise is a ‘memory’ that happened to me in London and it’s a new place for me, in drawing, referencing and in every creative aspect of an animation. ‘Luca’ also inspired me to how to chose a new place and studying its features and taking essence for our own referencing and creating artwork. ‘Luca’ director Enrico Casarosa goes to a town in Italian Riviera, where his childhood memories grown and then the team of animators move there and closely observe that new town and creates a entire new world for ‘Luca”. This Inspired me a lot in creating new characters, props and background for practice1.

Kandittund (Seen It!) is an animated shot by Studio Eeksaurus and it’s an Indian animation studio. They have created excellent animated short films that well received national wide. This time they created a short film with a folklore kind of story and different type of creative treatment. This is in my mother tongue and those stories are my childhood horror stories. This masterpiece inspired me a lot this year as it portrayed how an animated film can use its possibilities of telling audience pure imaginative stories into most effective ways, where any other medium struggles. These are the possibilities of animation, Studio Eeksaurus succeeded in this and influenced me to create Practice 2 animation dark frames as it also pictured more night scenes and they treated this very well. 

The next one is ‘Life is a journey’ advert by Victor Haegelin from PSYOP animation studio for the  BrightDrop. When I’m searching for a reference of my practice1, I got this one and it gave me examples for the western streets that I’m little familiar with and it was not a reference then a good creative work that influenced me in creating the transition between frames, where I lacked to find perfection.

Bibliography

Psyop. (n.d.). Bright Drop - Life is a Journey. [online] Available at: https://www.psyop.com/work/life-is-a-journey/ [Accessed 17 Jan. 2023].

www.youtube.com. (n.d.). Disney and Pixar’s Luca | Official Trailer | Disney+. [online] Available at: https://youtu.be/mYfJxlgR2jw.

www.youtube.com. (n.d.). Kandittund! (Seen It!) | Studio Eeksaurus. [online] Available at: https://youtu.be/DxYbfJUOOMQ [Accessed 17 Jan. 2023].

[deusluxuria]

johnny how does spine???

( warning: medical stuff )

( Don't be ableist or go "ew" or "oh no that is so sad that he's disabled" I'll eat you. )

For fanfiction info and whatever.

This info is subjective and not a matter of "you have to perceive Johnny this exact way." It's just a lil guide or starting point that might be helpful if you want to know more about Johnny's most-likely type of paraplegia.

There are a number of factors going on effecting the variables when it comes to gunshot wounds, spinal injury, and paralysis. So I'm gonna simplify it and get into basic stuff that doesn't require having a PhD or knowing firearm ballistics and all that.

(That being said, when it comes to writing about the experience of ableism, you need to be talking to disabled people and reading about their experiences. Remember that disabled people are a marginalized group.)

There's only so much we can figure out canonically. Spine injuries vary a lot, and then there are inconsistencies with Johnny's disability throughout the story. Araki likes to "not sweat the small stuff" (in his own words).

I like to just stick to the information we have in the beginning, since we get the most from there.

These are two excerpts from one of the first few chapters of the manga, showing approximately where in the spine Johnny was injured (just about above elbow level).

And here's a diagram showing the spinal column, and about what "above the elbow" means for Johnny's bodily functions. The T9 vertebrae is the closest to where that might be, so it can be assumed that Johnny's spine is effected from there-downward. Again, this varies depending on the person and multiple factors of the injury.

Digestive:

Johnny has no bowel control (which means it's a given he also has no urinary control). And according to how other characters say he has no sensation below the waist, either that's true or he has very minimal sensation.

Johnny is rich, so he can pay his medical bills. And his main dilemma in the story is that he's got a toxic self-ableist ego, so he probably would have gone for the prosthetic route, with colostomy surgery & catheters. As opposed to a bowel program or using diapers / other receptacles. Prosthetics also make more sense in context, since he's in a horse race and being chased by violent assholes, and so he wouldn't be able to visit a doctor or look after his hygiene just whenever.

A colostomy involves a hole (aka "stoma") being surgically made directly to the colon from the abdomen. A removable colostomy bag (aka "stoma bag") is attached to the hole, and is used as a receptacle for fecal matter to be emptied into automatically.

[ID: simple diagram showing the structure of colostomy surgery, & the location of the stoma & where the colostomy bag hangs. /end ID] [ID: simple stock photo showing a person slightly lifting up their shirt to show their colostomy bag, which is opaque, white flesh-tone color, & about the size of a large adult's winter mitten. /end ID]

This can make bowel movements easier for some paralyzed people as opposed to diapers or bowel programs, because emptying into a colostomy bag requires a lot less muscle function, is easier to change and clean, and needs less prep before bathing, showering, exercise, sex, sleep, etc.

Similarly, a catheter bypasses some of the distance and muscle control needed for urinating. A small, thin tube is inserted into the urethra and guided to the bladder. Urine automatically empties from the bladder, through the tube, and into a drainage bag, which is kept strapped to the person's thigh or calf, or secured to their wheelchair or underneath their bed.

[ID: simple diagram showing the structure of a catheter & thigh drainage bag, as well as what the extension to an overnight drainage bag might look like. /end ID] [ID: simple stock photo of an opaque white drainage bag cover, strapping the bag to the person's thigh. /end ID]

If someone uses a diaper, they'd simply change it whenever it's used, or otherwise whenever they're able to.

Because Johnny rides horses and does various dangerous, strenuous things in SBR, if using prosthetics, he might have his colostomy bag secured to his torso in some way (such as tying a piece of fabric around his torso). He might also have more padding to these prosthetics to protect them from being punctured, or worse, ripped out.

When he was shot, the bullet also may have perforated his intestines (along with his gallbladder and a kidney), which would have made a colostomy procedure necessary anyway. When he's shown in the hospital, he has a cloth wrapped around his pelvis, and acknowledges in distress that he's lost bowel and/or bladder control. So we can guess that his intestines are at least mostly intact.

[ID: Part of a panel from the Steel Ball Run manga, showing Johnny from the waist-down, in a hospital bed with a white cloth folded around his pelvis and bandages around his abdomen. /end ID]

Pain:

Johnny has the right idea about strapping his ankles up next to his saddle. People without paralysis tend not to realize just how heavy the human body is. With no muscle control in his legs, they would be way too heavy, and his back would be injured if he were to just let his legs dangle, especially while riding on horseback at high speeds. That would most definitely break his legs.

One thing about a transition between having muscle control and then being paralyzed is that previously non-paralyzed people might not understand right away that their paralyzed body parts still need to be taken care of. Even if those parts don't feel pain.

Johnny would likely have back, neck, and shoulder pain after being paralyzed, at least for a while. At least until he re-learns how to take care of his body from the waist down. Treating his legs like dead weight would put strain on the rest of his skeleton.

[ID: A panel from one of the first few chapters of Steel Ball Run. Johnny from the side, showing how he has changed the structure of his horse saddle and has his ankles strapped to his sides, so he's seated on his horse in a kneeling position. /end ID]

Sexual:

It's possible to experience orgasm with paralysis. There are types of non-genital orgasms, and then, strong or prolonged, repetitive stimulation to the errogenous zones of sensationless genitals can still cause orgasm that's felt from the waist-up (paralyzed folks may find the use of strong vibrators to be especially beneficial). Prostate stimulation may also be significantly more effective than genital stimulation.

Some people also have increased sensitivity from the waist-up if they're paralyzed from the waist-down (i.e. Johnny would feel notably more pain when injured, say, on his arm, than Gyro would).

A person can also have phantom sensations and experience pleasure & arousal from visual stimuli alone.

Sex with paralysis might need extra lubricant, since natural biological lubrication can be less prevalent with pelvic paralysis.

The way sexual stimulation feels to a paralyzed person is likely impossible for a non-paralyzed person to imagine. And it of course depends on the person and the unique way of how they experience sex in general.

Going by Johnny's personality, mainly with his loss of self-confidence, after his injury, he would likely only have sex with someone whom he trusts very deeply.

Reproductive:

With a uterus and viable ovaries, it's just as possible to get pregnant with pelvic paralysis as it is without. There can also still be pain during childbirth.

Viable testicles are a different story. It's very difficult to get someone pregnant when the person with testicles has pelvic paralysis. There would need to be help from a doctor. In context, Steel Ball Run doesn't stick to historical accuracy. But if it were, there's no way disability services around 1890 were existent enough for people with testicles to have medical help conceiving children when paralyzed at the pelvis.

If George is the biological child of both Johnny and Rina, it would make more logical and historical sense if Johnny had a uterus and was the one who gave birth to George, alongside Rina having testicles and being the one who impregnated Johnny. But that all depends on your headcanons, like what I said at the beginning of the post.

thank you for tuning in to "how johnny spine does" or something, goodnight lol

[thecrownnet]

Congratulations to Adriano Goldman , ASC, BSC, ABC, Director Of Photography, for his Creative Arts Emmy win OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES (ONE HOUR) for season 4 episode 3 ‘Fairytale’ on September 11, 2021. Here are his insights on filming the episode with director Benjamin Caron.

‘The Crown’ Used Lighting and Composition to Trap Its Characters Inside a ‘Fairytale’

Director Benjamin Caron and cinematographer Adriano Goldman discuss how they destroyed Diana and Charles’ marriage before it even began.

Behind the Scenes of “The Crown” Season 4, Episode 3 Photo: Netflix

Over “The Crown’s” four seasons, the halls of Buckingham Palace have become familiar visual signifiers for both the grandeur and the pressure placed upon the royal family. But in the third episode of this most recent season, “Fairytale,” cinematographer Adriano Goldman and director Benjamin Caron stretched the limits of the show’s visual language to create — and then to destroy — Princess Diana’s (Emma Corrin) fairytale fantasies.

Much of the episode is given over to Diana slowly realizing that, like many princesses stuck in a castle before her, she has fallen into a trap. But Goldman and Caron opened up the ways they shoot their Buckingham Palace sets to show how the demands of the Crown consume everyone on the eve of the fateful marriage.

They force the jaws of the trap open wide with a pre-credits sequence of Diana’s night out with her friends after Charles (Josh O’Connor) proposes to her. The scene is a departure in every sense, not just to the swank ’80s members’ club that Diana frequents.

“You try to deliver something that is more romantic, a little bit more colorful, fun to start,” Goldman said of the sequence in an interview with IndieWire. “We wanted to not change the style too much, but there should be a transition from a very colorful pre-title sequence, a very interesting and more romantic beginning.”

That romance is on full display, most noticeably in the brighter, guadier colors of the club and much warmer tones of Diana’s Earl’s Court flat. But Goldman’s camera also interposes itself almost as a fourth (slightly intoxicated) friend, swinging around inside the girls’ cab to get a look at both Diana and Buckingham Palace, or flinging itself down onto the bed with the girls at the end of the night. The look of the sequence stands in contrast to the stately shots and slow tracks which are the show’s normal rhythm for everyone in the royal family. Well, for everyone in the royal family except maybe Princess Margaret (Helena Bonham-Carter), who gets to dance by a pool every now and again.

“We really considered how we could reverse [that fairytale opening] and be very present with her, and [how we could] make her feel young, actually. Part of this is she’s a young girl going into the palace,” Caron said.

Caron and Goldman gave the audience several visual signifiers that are easy to clock in this sequence, as well as Diana’s goodbyes to her friends that follows: the gold and neon hues of the night out, the warm, eye-level close-ups of Diana dancing in the club, and a signature spiral staircase Diana descends to begin her life as a princess.

Over the course of the episode, these colors will fade. The close-ups inch slightly above Diana’s eyeline, so that it feels like the camera, along with the rest of the Royals, is looking down on her. And when a spiral staircase reappears, it will lead to Diana’s lowest point.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

With Diana ushered inside Buckingham Palace to shield her from the press in the run-up to her and Charles’ wedding, Caron and Goldman emphasized how small and vulnerable Diana looks inside the palace walls. The opening of “Fairytale” had a long shot of the club, and Diana fit snugly within it. Once inside Buckingham Palace, the negative space often overwhelms Diana, and the camera backs away to show just how alone she truly is, perhaps best exemplified in the scene of her grandmother (Georgie Glen) physically tying her up while instructing her in how to speak like a royal.

Caron and Goldman deliberately call back to the romance of the opening to twist the knife, having Diana dance ballet inside the palace and then try to break out of the regimented structure of it as the pressure on her mounts. “I remember sort of holding the frame and I remember the camera operator was trying to follow us, but [I said no,] just hold the frame static and let her move in and around it,” Caron said. “So it really felt like someone trying to break out [of] somewhere.”

But of course, the camera never does let her leave the frame. Unlike the quick, fun cuts of Diana dancing in the club, there is no pressure release here. There is nowhere for Diana to go.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

Caron wanted to use visual features that would feel right at home in a Disney princess story to their most punishing effect and perhaps the most powerful one of these motifs reoccurs when “The Crown” has Diana descend another spiral staircase. “[Ben] was very specific about this spiral because she’s going down on a spiral emotionally,” Goldman said of the shot that leads Diana down to the kitchen, a moment of late night desperation that kicks off her eating disorder. “He didn’t want to follow her on the steps, like on a steadicam. He wanted [the camera to be] facing down and going down with her to the very bottom of her feelings and her emotions.”

Caron described it as going to the “bottom of a well,” once Diana enters the kitchens and becomes enveloped in darkness — except for the fluorescent blues of the refrigerator lights, which makes the space feel like a morgue. This strong use of color, like all the changes in the episode, is grounded in the reality of whatever space Diana finds herself in. But the emotion and, indeed, the foreshadowing that Caron and Goldman are able to imbue those spaces with give Diana’s spiral real visual potency and a visceral sadness.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

What is so thrilling about “Fairytale” is that it spares no one. Two striking scenes toward the end of the episode don’t have Diana in them at all, and yet push the series’ visual language to show how the palace and this marriage will swallow the characters who have been there all along.

In the first of these, Margaret tries to persuade Elizabeth, the Queen Mother (Marion Bailey), and Philip (Tobias Menzies) to call off the wedding. Caron wanted the scene to have a “conspiratorial, almost a Jacobian feel” to highlight the cold, businesslike calculations these four people are making for the happiness of two others.

“I remember saying to Adriano,’no no no, let’s go darker,” Caron said of this sequence and the next one. Goldman also recalled the desire to push the scene even further visually, lighting characters at harsh, dynamic angles or in almost complete shadow, so that the scene would feel spiritually closer to “The Godfather” than to the show’s usual style. The comparison is apt, given the mahogany browns and greens of the sitting room and the firelight that Goldman and Caron used to emphasize shadows falling into the crags on the characters’ faces. Vito Corleone could easily be sitting in a corner of one of those frames.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

The next scene — when Elizabeth goes to find Charles and offer him a final few words on his marriage — Caron and Goldman viewed as a way to visually crystalize their relationship and how it is marred by their obligations to the monarchy. “Wouldn’t it be painful if you had Charles looking out the window and he felt the reflections of the fireworks and the noise and the celebrations outside?” Caron said about how he started conceiving of the blocking and framing of the exchange between mother and son. Each cinematic choice builds from a sense of what would be more painful, what would put more strain on the relationship.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

The filmmakers created this visual strain between Queen and Crown Prince not just by keeping them at opposite sides in the composition, but by keeping one of the pair always just out of focus in the shots with the two of them — they can’t even occupy the same level of detail in the frame. Color plays a role, too, with bright blues and reds from the fireworks, reflections of the Union Jack, always being part of the light through which the audience sees the resigned sadness on Colman’s face and the abject misery on O’Connor’s. Goldman said this is the scene where he realizes he will never escape the system of the monarchy. “He realizes it’s too late. It’s a trap. He’s been trapped.”

“It always comes back to the Crown,” Caron said, and it is really from the perspective of the Crown itself that we watch the characters prepare to head to church on the day of the wedding. When the audience finally sees Diana in her dress, she faces away from the camera and moves into that oppressive cavernous space which has put so much pressure on her throughout the episode. It’s a slow, almost funereal march toward the fate the audience already knows awaits her. Charles, on the other hand, gets the close-up this time. But the camera, with equal grimness, tracks slightly down and in, so that his face begins to loom over the frame, making him look monstrous.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

Of course by now, the visual choices that Caron and Goldman made for “Fairytale” have taught the viewer that there is another monster, a much more powerful one, looming over the episode’s final frame: The Crown is the monster that always gets you in the end.

[angelanimedesaray]

Wings in the Dark Chapter 4: Limelight

AN:  Ah...next chapter.  I keep finding myself thinking about/writing Wings in the Dark even though I’ve got so many other stories to keep up with, some of which are only one piece away from being done or oneshots XD

Also I apologize I keep forgetting to put Fem!Vampire!Reader, I keep getting lazy there...tagging error.

Characters:  Levi, Fem!Vampire!Reader, Erwin, Oluo, Petra, Gunther, Eld, Various BG Characters

Pairing:  (Eventual) Levi x Fem!Vampire!Reader

Warnings:  Language, Blood, Peril, Mentions of Death

Word Count:  6101

<----Previous Chapter    Masterlist    Next Chapter---->

*Reader’s POV*

Beneath you, Zephyr shifted from foot to foot, the crowding of Scouts in the street just before the gate looking disorganized, but each squad in specific places meant to make the transition once outside the walls much easier.  You knew where you were in the formation, right with the vanguard--not quite at the front though, since you were still a rookie.  Instead, you were in a message position.

Just a few horses in front of you, you could see Captain Levi and his squad, their gazes fixed forward like most of the Scouts.  Your hand fluttered briefly to your neck as you gazed up at the giant wall that was casting its shade upon most of the gathered Scouts, your heartbeat quickening as the reality of what was happening settled over you.

Decades without open air and sunlight before you managed to find the key that would allow you to walk on the surface in the sun once more.  Never before venturing outside the walls.  Now here you were, about to ride out beyond its boundaries into open, fresh air and sunlight where there was no edge where a wall or some other boundary of mankind kept you in.

As if sensing your restlessness, Zephyr pawed at the ground, antsy and ready to move forward.  The horse standing behind you at the end of a lead had been jumpy since being handed off to you, but its nerves were only getting worse between the aura you and Zephyr were radiating.  Your grip tightened on the reins, gaze fixated on that gate that you were begging to just raise already and let you shoot out into the world.

This was what you were here for.  You’d finally made it.  Now was the time to throw yourself all in for the cause.  Messenger or not, you were going to do everything you could to help.

The brick gate up ahead finally finished rumbling, and a pure white horse holding Commander Erwin Smith reared up.

“Forward!”

Your heart leapt into your throat, and it took everything inside you to wait until the people in front of you started to move forward before your heels pressed lightly into Zephyr’s hindquarters, urging the speckled grey mare forward.  Your breaths came rapidly as the brick gate approached, head tilting up on instinct as you went through the tunnel, momentarily plunged into darkness with light piercing through the end before Zephyr burst through, one set of many thundering hooves as you broke past the wall.

Green grass rolled out before you with towering trees dotting along the horizon, stretching as far as you could see, further.  The wind whipped at your hair, sun beating down on you harmlessly as you soaked in the unbridled rays, lips parted as you took a deep breath of truly free air.

This was a feeling you would never forget.  It was as if the wings upon your cape would emerge and spread wide, carrying you up into the blue sky far above and off to a land where there were no stifling walls real, social, or in your mind, no secrets and constant hiding of who you were.

Feeling eyes on you at your reaction to crossing beyond the walls for the first time, you closed your eyes briefly, the self-imposed darkness grounding you back to reality as you reminded yourself what the goal was here, what you were supposed to be doing.  You had a purpose out here, and the others couldn’t afford your distraction.

Your head lowered from its tilted back position, and your eyes opened with focus burning in your gaze, fixed forward as you leaned slightly over Zephyr’s neck.  Within a few minutes of running straight forward, the formation began to take shape, Scouts spreading out to the left and right while most of the cargo stayed in the middle.  You were one of the ones who went out to the right, falling into place at a relay point with your skittish extra horse trailing just behind Zephyr.  Off to your left, you could see Levi Squad, within eyesight but still quite a distance away and placed closer to command than you.

While everyone here had to depend upon smoke signals and their own limited sight to tell them if a Titan was approaching, you were at a unique advantage when it came to the task of spotting Titans.  You could hear them long before you could see them, but your sight was much better than the other’s here, as well.  You would be able to tell if there was a Titan approaching long before anyone else, which could drastically help the mortality rates of the Scouts if you could use your abilities.

Of course, the matter was complicated by the fact that you would have to wait until there was visual confirmation of a Titan if you didn’t want to look like you were firing flares into the sky for the hell of it, which you were certain would piss many people off very quickly.  So, you were restrained to detecting where the Titans were, and keeping track of them until they got close enough.

If it was a big enough threat, though, you would take the risk.  You would still have to wait if you wanted people to believe you, but you weren’t going to wait as long if it was something like a horde of Titans or a clustering of abnormals.

That part you had decided ahead of time.  The rest you would play by ear and see what happened, or simply play the role you had been assigned for this expedition.

*Levi’s POV*

While Levi and his squad had their duties that went with their position in the long range formation, Levi had his secondary objective to observe L/N from a distance, keeping an eye on her at least partially at all times while his squad handled much of the spotting and message relaying, Levi only giving curt orders when necessary.  They certainly wondered what was causing his distraction, but no one questioned it, especially from the serious look on his face.

He’d been watching L/N from the moment they rushed out of the gate beyond the walls, her reaction reminding him strongly of himself, Isabel, and Furlan when they’d first gone beyond the walls.

Before he could have someone snap her out of it so she was paying attention, she’d brought herself back around, snapping back to full focus on the task at hand impressively fast despite how swept away she’d been moments before.

With the more central position Levi’s squad held, they were better positioned to be sent whichever direction they might be needed if shit hit the fan, and the more protected position than the vanguard and the relay lines allowed Levi to put more of his focus on L/N without causing unnecessary risk.  No doubt that was part of the reason Erwin had arranged them the way they were for this expedition.

At first, there wasn’t anything out of the ordinary.  She kept her head on a swivel, fired the signal flares at the appropriate time to pass along the message to shift the direction of the formation.  However, Levi eventually began to catch the anomaly he might have overlooked if she’d been a little further away, or he’d been a little more distracted by what was going on in his position.

Her head stopped swiveling, her gaze fixing in certain directions for long stretches of time before she would fire off her flares.  At the most, her head might twitch in one direction or another, but nothing more.  The big give away, however, was the fact that he occasionally caught sight of her loading a flare into her flare gun long before the signals went off.  As if she knew it was coming.

Either she had insane intuition, or she was able to see something they couldn’t.

It was a good thing he'd noticed her focus and how she seemed to be picking up on approaching Titans before the vanguard, because it greatly effected how he reacted when she fired a shot before even the vanguard.  She went perfectly still, head turned forward right towards an outcropping of trees in the distance.  She stayed gazing in that direction for several long moments before she suddenly reached into her pack, loaded her flare gun, and fired a black smoke signal into the air.

Everyone reacted with surprise from the display, Levi included, considering no Titan could be seen, and she was not relaying a signal from the vanguard.  Immediately, the others began to grumble and complain at rookie audacity, what she thought she was doing, the usual complaints.  Levi, however, was staring hard at her back, noting how she was still staring in the same direction, thinking of how she'd been aware of every flare coming so far…

"Gunther, relay that signal."

The complaints about L/N stopped, the others looking at Levi in surprise.  "Sir…" Petra ventured to say in a cautious tone, clearly not wanting to question him but doubtful of the black flare's accuracy.  Still, Levi could hear Gunther preparing to fire the shot behind him, even as Petra continued.  "That signal is coming from nowhere, the rest of the vanguard haven't even fired anything."

"Because she's spotted something they haven't," Levi said bluntly, as behind him Gunther relayed the signal, which went down the rest of the line to Command.  Erwin’s green shot fired into the air shortly after what must have been a confusingly sudden short burst of signals.

Levi kept his gaze on L/N the entire time, except the direction change, looking for the payoff or justification for her sudden signal.  At first, he didn't think he would see it.

In the distance, within that outcropping of trees that had held her attention before and was now further away from them thanks to the direction shift she’d prompted, Levi saw something clear the treetops.  It was hard to catch at this distance, but the scattering of birds from those trees helped confirm what he was seeing.  Within a few moments, two fleshy figures of Titans burst through the treeline, one running sporadically forward and the other leaping around, both headed in the direction of the formation.

There was more distance between the formation and the abnormals, thanks to their shift, which gave them more time to respond, but they were still going to collide with the ranks.  He could see L/N coiling atop her horse, ready to leap into action if they broke past the vanguard and reached her position, eyes no doubt fixed on the incoming threats.

“Captain, should we go assist?” Petra asked from behind him.

“If they break through the vanguard ranks, yes,” Levi said, gaze sweeping over the other positions in the formation that held less skilled rookies.  He didn’t want to risk abnormal Titans colliding with the newbies, so he’d make sure they were stopped there, if the vanguard couldn’t handle them.  Instinctively, Levi tensed as the abnormals reached the front lines...and then burst right past towards L/N’s position.

Abnormal, indeed.

Oluo swore as they saw both abnormals barreling towards L/N, who was already kneeling on the saddle of her horse and waited a few seconds for the abnormals to draw a little closer.  Levi and his squad were already heading towards them before L/N leapt off her horse, one of her cables firing into the rushing Titan since it was at least keeping stably on the ground, swinging around and away from the front of the attacking Titans, firing the other higher up to try and get a quick shot in at the Titan’s nape.

The second Titan shot over the first in a leap towards L/N, forcing L/N to change direction and release her cable from the first Titan.  With a nimbleness that surprised Levi, she pushed off of the arm of the second Titan as it went by to add momentum in the direction she wanted to go, cables releasing again so she could swing between the legs of the first Titan and still avoid it’s reaching arms.

With her cables detached again, she rolled to a stop and got back onto her feet, taking a second to register her position before one of her cables sank into that first Titan's shoulder and she shot towards it again.

At that point Levi and the others were close enough to do something and had a good grasp on the situation.  At Levi's orders, Eld, Oluo, and Gunther broke off to deal with the jumping one while Levi and Petra rushed to intercept the one L/N was handling.  Levi had a pretty good idea of what she was trying to do, but expecting it to go terribly wrong, he was trying to reach her before she lost a limb. Or her head.

The Titan snapped at her as she came within biting distance, but she let loose a burst of gas at the last second to sail over its shoulder, twisting in midair as the men handling the other Titan let out an alarmed shout.

Both cables sank into the shoulder blades of the first Titan and brought her in close with her feet landed just below its nape, and she sliced neatly through, killing it in one stroke.  As she turned with the strike, the second Titan came into her view, ignoring Eld, Gunther, and Oluo entirely as it launched for her, still anchored onto the falling Titan.

The cables disengaged so she could fall back and drop out of range of its maw, feet barely missing the teeth as she dropped vertically and headfirst towards the ground.

Eld went in for a quick kill while it was fixated on L/N.

"No!"

"Wait!"

"Eld!"

At angles they could see where the Titan's attention was trained, L/N, Levi, and Perra, respectively, all shouted out for him not to go for the obvious kill. Its eyes had shifted in the direction the cable came from, towards Eld, and it swung out an arm that caught the wire.  Eld was sent careening to the ground, the jumping Titan punching toward him with jaw agape again as the now-injured man got up to right himself, cables still sliding back into place and unable to deploy yet.

Two blurs in opposite directions cut through the air at the front and back of the Titan.  Levi was at the back, slicing cleanly through the nape to kill it before it could kill Eld.  At the front and coming from the opposite direction, was L/N, slicing through arms and bottom jaw in a wide arc to render it unable to eat Eld.

As they passed each other in the air, they momentarily locked eyes, and instead of fear or anger which commonly filled the eyes of the recruits, Levi saw...exhilaration.

Considering one of his men almost got killed, she better be taking this fucking seriously.

As they both landed on the ground at opposite ends of the Titan body, Levi turned to see her already sheathing her blades and approaching Eld to make sure he was okay and help him to his feet.  Gunther and Oluo were close behind, pulling beside them as Eld was brought to his feet and Levi stalked towards them from behind.

"Are you both alright?" Gunther asked.

"That was a hell of a risky move you pulled there, rookie--your leg got cut open when you decided to jump right through its mouth!" Oluo chastised.

Levi’s gaze dropped to her leg, the large tear diagonally across her leg now clear, with bloodstains along the frayed edges of the fabric.  But the skin of her calf was unblemished save for a slightly angry red mark running parallel to the rip.

"Hm?" She asked in confusion, turning back to glance down at the offended leg before she twisted so the others could see.  "It was risky, and close, but it didn't draw blood.  Just a graze," she remarked, eyes lifting to see Levi approaching.

He was caught between angry and indifferent, with a bit of reluctantly impressed.  He couldn't exactly chastise her for endangering the others with that out in the open now, could he?  She'd been handling them alone off circumstance before they intervened, and when one of his men was in danger of dying, she'd apparently risked a leg to intervene.

It was still reckless, even if in the moment she'd deemed it necessary.  She was a rookie out here, she didn't know the full extent of her capabilities against the Titans yet.

Levi’s gaze slid momentarily to the two rapidly dissipating Titan bodies.

Or perhaps she did…

"Petra, help Eld.  Everyone, get a move on, before we're left behind," he said instead, turning back to his horse as L/N let out a sharp whistle to call her horse.  The dappled grey appeared with the spare horse in tow and still tied to the saddlehorn via the lead so it wouldn't run off.

Once he was certain everyone was mobile and Eld was being taken care of, Levi led the way for his group to rejoin the formation, L/N racing off to retake her position.

Levi’s gaze wandered back towards the pillars of steam that billowed into the air from the dead Titans.

Why had they both been so set on /her/ that they blew past everyone else?

*Reader’s POV*

"All right, we need people for the night watch, so if--"

"I'll do it," you said before he could even finish, standing up from your spot around the fire as you spoke.

All he had to say was night watch.  It was another one of the things you felt that you were the most suited for, considering you were a creature of the night.  You would do far better in darkness than anyone else around you.

After volunteering to be one of the people on night watch, you were sent up into the nearby trees to give you a better vantage point, able to gracefully find your way up onto a tree branch without issue.  Once where you were supposed to be, you took a seat, resting your head against the trunk as your gaze wandered across your surroundings, allowing your hearing to focus so it was listening for things in the distance or abnormal sounds within the vicinity of the camp.  As such, the cacophony of people speaking to one another before heading to bed faded away into a faint buzz in the back of your mind, allowing you to focus on your watch.

This also gave you a moment to reflect on your first day out in the field, and the unexpected consequence of your presence that you had discovered.  So intent on contributing to the Scouts and using your abilities to assist them, you'd forgotten some basic predatory instincts.

Out here, the Titans were at the top of the food chain.  Within the walls, it was vampires.  The Titans were mainly active in the day but quiet at night, and vampires normally thrived in the dark and could not go out in the sun--you were an exception, thanks to something you had taken from a vampire far older and more experienced than you.  There was a clear division between the two preventing them from coming into contact with each other, mostly the night and day difference and the literal wall dividing their environments.  But you had just entered their habitat, and you were well aware that a vampire could still be killed by a Titan if they got careless, or if the Titan got one lucky bite in.  As such, you didn't consider vampires at the top of the food chain when placed in the same space as Titans, but adjacent to them.

The Titans had focused on you, likely because you were an invasive, competitive predator in their lands.  You were a threat to them and their food supply, and they could not safely feed if there was a vampire in the area.

As such, if the opportunity presented itself, they were going to target you first.

Lovely.

This was new, dangerous information, and you were still deciding how to react to it.  Maybe not every Titan would completely ignore a meal in front of them if there was a vampire nearby, but today two abnormals had barged right through the vanguard to get to you.  It wasn't something you could ignore.

For a while, your watch went undisturbed, allowing you to quietly stew in your thoughts high up in the trees, before a sound broke through your filtered hearing, and your attention snapped into full focus.

Down below, hidden by the tall grass, darkness, and trees, you could make out the spread out shapes of a wolf pack stalking closer to camp, towards where some of the horses were hitched for the night.

Bold wolves.  Or perhaps they were desperate, or had yet to learn to be afraid of mankind.  Either way, you couldn't let the wolves get to the horses, the lifeline out here for the Scouts.

Quietly, since the way you wanted to handle this couldn't be seen by the other Scouts, you dropped down from the trees, crouching low to the ground and blending into darkness as you moved to intercept the wolves while they were still shrouded in darkness and the environment.  When you put yourself firmly in their path, the tension in the air shifted.

For the wolves, while they were in a pack, you were a more dangerous predator, one that they would normally avoid.  As such, the pack's attention shifted, and you let out a low snarl, red eyes flashing in the night and fangs barred as the wolves cautiously stalked closer to you.  They loosely encircled you, and you quickly tried to assess each one, looking for the alpha, the one who acted first that the rest followed.  The wolves got dangerously close before you managed to pick it out, and you spun around to face the alpha head on, making yourself look big and keeping that snarl.

It hesitated, stared at you for a few moments, and then the grey wolf leapt forward to attack. Anticipating the motion, you plucked it out of the air, arms wrapping around its furry upper body and slamming it into the ground, causing it to yelp and yip as you held it down, pinned, its throat exposed.

You held it there for several moments, making sure the rest of the pack could see the alpha had been bested before you let the wolf up, the large creature immediately taking the opportunity to run and letting out a high-pitched howl for the rest of the pack to follow as it raced away.

Composing yourself once again, you turned back to the camp, heading in the direction of the horses to make sure they were alright, several Scouts intercepting you just before you reached camp.

"We heard wolves."

"What were you doing out there?"

"I chased them off.  They were thinking about going after the horses," you assured them calmly.  "All it took was a well aimed rock and the sounds of quite a few humans from behind to chase them off," you said, explaining the yips and their sudden absence with ease.

"Right.  Back to your posts, or back to bed, whichever it is for you.  Go on," one of the senior officers commanded to get everyone to disperse again.  You didn't say anything more, feeling no need to as you instead used the ODM gear to return to your perch in the trees.

*Levi's POV*

While Levi was checking his gear to make sure it was still in peak shape for the rest of the expedition, his squad had their fireside discussion about the day's events, the topics free ranging since Levi seemed to not be paying any attention to them and was a fair distance away.

Mainly, they were talking about the display with the two abnormals.

"Did you see how they charged right through the line towards that rookie?"

"They were abnormals.  You have to stop questioning abnormals so much or you'll drive yourself mad."

"I'm more interested in that rookie.  Did you see how she handled those Titans?"

"No shitting herself or anything--perfectly calm, like she wasn't even bothered."

"It was almost like she was dancing around it for a few moments there--you could even call it graceful."

"And did you see how in sync she was with Captain Levi when they took it down? Even if it was brief?"

"It was still a risky move--she went right through its mouth!"

"That either takes a hefty set of balls, annoying levels of confidence, or sheer insanity."

"I still swear I saw her leg get cut open on those teeth."

"Clearly not. She showed us her leg, it came close and she was damn lucky or pulled it off that well. It was just the rip, the red mark, and some Titan blood."

"Still...she has to be that rookie all those rumors are about, right?"

"The ones about Captain Levi possibly letting a rookie join the squad?  Those are bullshit and you know it."

"I'm not so sure anymore, after seeing her in action.  It's not impossible.  They might wait until she's a little less green, but…"

"Captain Levi did seem a little distracted today.  And our position was right where he could see her at all times."

"So it is possible...it would be weird...and I still think they should wait until she's not so green...but I wouldn't complain."

"It'd be nice to have another girl on the squad…"

Levi stood up at that point, the group's conversation halting as Levi moved, then resuming when they realized he was walking away from the fire, not towards it.

Don't get attached, you idiots. If she's as dangerous as I think she is, she won't be around for long.

Moving further away from where his squad was chatting amongst themselves, Levi headed towards the trees where Erwin was taking at least one night shift, using his ODM gear to bring himself up to the tree branch beside the towering blond.

"I heard those abnormals caused a bit of a stir," Erwin said as Levi settled onto the branch beside him, hardly able to see one another with only faint firelight a ways behind them and moonlight mostly blocked from the trees around them.

"They barreled straight out of a treeline and through the vanguard.  Didn't give them a second thought and went right for L/N."

Erwin looked at Levi with the way he phrased that last line, like there was more to it.  "They were abnormals."

"Yeah...but even abnormals don't usually fixate on just one person.  Not to mention two abnormals at once."

Erwin turned slightly towards Levi.  "They didn't pay attention to anyone other than L/N?"

Levi shook his head.  "Not until Eld went in for a killshot on the last one.  They seemed...drawn to her."

"Interesting…" Erwin murmured, both of their attention drawn by the sound of wolves yipping and then howling, the sound getting further away.  There was a slight commotion at the edge of the camp, with L/N appearing from the darkness in the direction the howling had been and saying a few words before everyone settled back down.  She must have chased them off, then.

"There's more," Levi added, eyes following her figure as she disappeared up into the trees with ODM, apparently one of the few taking a night shift.  "This entire time, she's been picking up on Titans before anyone else sees them, even the vanguard.  She knew those abnormals were coming long before we had visual confirmation."

"That would explain the odd, lone black flare before the others started being fired," Erwin murmured, his gaze fixated in the same direction as Levi.  "Keep watching her.  We won't be out here too much longer, since we'll reach our destination tomorrow.  You can give me the rest of your observations in an official report when we get back."

"Right…" Levi muttered, turning away and heading back to the ground to admonish his squad about still being up and get them to get some rest before they talked the whole night away with their conspiracy theories.

*Reader’s POV*

When you returned from the expedition, you were surprisingly exhausted.  The Scouts had returned a few hours ago, and as soon as you were free of your duties, you headed up to the barracks so you could crawl into your bed and pass out.

While the first day had gone relatively well besides the obvious for all the horror stories about the Scouts and their expeditions, the second day had not gone so smoothly.  Even worse, when the Titans collided with the left vanguard, you couldn't do anything about it but watch Levi Squad break away as they were dispatched to go help.  You were, after all, just a messenger for the right side of the formation for this expedition.

Because of the attack on the left, the Scouts had accumulated a body count and ended up with quite a few injured.  It wasn't bad enough to cause the mission to fail, thankfully, as the Scouts still managed to reach the destination and set up supplies for future expeditions, but after a couple more incidents on the way back, a few more injured and dead were accumulated, and the Scouts were looking rough upon the return to the walls.

On the bright side, if it could be considered a bright side, you were already sitting on two solo Titan kills at the end of the expedition despite being a messenger, you made it through your first expedition, and you knew more about how you would fare against Titans and your usefulness to the cause.

Right now, that was all food for thought at a later point, as you quickly fell asleep once your head hit the pillow and you were finally given the chance to relax.

Unfortunately, it didn't feel like it lasted for very long.  You were woken up by one of your fellow new recruits attempting to get you out of bed, though a quick glance towards the windows told you it was now night--you’d been able to sleep the whole day away.  Yet you still felt groggy and tired.

"Hey, L/N.  L/N!  Get up, already.  Captain Levi wants to see you.  So get to it--last I saw him he was in the library."

*Levi's POV*

"Extraordinary reflexes, stronger than she looks, quick on her feet, calm under pressure, skilled and resourceful with the ODM gear, capable, patient, able to pick up on approaching Titans long before anyone else…" Erwin's fingers tapped lightly on top of Levi's official report of his observations about L/N, the papers sitting in front of him on his desk.  "All this time and all I can see so far are more reasons to make sure she's advantageously placed in the Scouts and used to her full potential."

Levi turned to give Erwin a disbelieving look before it fell into a scowl that was becoming quite common at these meetings between the two to discuss Y/N L/N.

"You can't tell me you're not curious about the how, that nothing about her raises questions?" Levi scoffed.  Erwin leaned forwards, fingers laced together in front of his face.

"Oh, it does.  It seems trying to find out more about L/N only raises more questions instead of providing answers, and I'm determined to start finding answers.  But I'm not talking about wanting to know how.  This started because you said you had a bad feeling about her, that her motives might be malicious.  So far, all you've given me is more material to believe her intentions are at least aligned with our own if not good, and more reasons to make sure she stays part of the Scouts, not anything to prove she's of ill intent."

Levi looked away, teeth grit.  He'd almost fallen into the same trap. Until…

"The night before the expedition, we ran into each other in the mess hall.  She'd just come back from the Underground, which I know because she still had that smell on her...as well as the smell of blood."  Levi turned to look at Erwin, gaze sharp.  "I doubt she was down there healing sick kids considering, as far as we know, the extent of her medical knowledge is the first aid she learned as part of her training."

Erwin frowned, his eyes probing as he studied Levi’s expression.  "That would have been nice to know, sooner."

"It hadn't come up, yet.  And it's not exactly something I can put in an official report."

"It's still not enough to go on, Levi."

"You don't think I know that? It's driving me mad catching these little pieces that suggest something's off about her, and then failing to get anything else.  It doesn't help that she knows I'm watching her."

Erwin sighed, leaning back in his seat with a thoughtful look, gazing down at the report on the desk.

"Go ahead and recruit her for your squad."

Surely he heard him wrong.

"I'm sorry?" Levi asked in surprise.

"Not as a fill member, not yet, anyway.  She's still too green to justify moving her to the special ops team even with how well she did on her first expedition.  Have her start as an aid for you and your squad, that way she's still in a learning and assisting position until she's more seasoned."

"And your reasoning for this is…?  What if she wants this?  Not knowing her motivations--"

"Gives us all the more reason to make this move.  As part of your squad, even as an aid, she'll be directly under your command.  You'll be able to keep a much closer eye on her, find out more about her--I'm sure your squad members will be able to find out things about her naturally on their own time.  Keeping her close is the best play right now."

Levi sighed in frustration.  Sure, he'd considered picking her for his squad already, but his suspicions had killed that desire, at least for now.  Plus, usually he got to choose if and when he added someone to his squad.  He wasn't too keen on being ordered to add her, even if Erwin had a good reason for doing it.

However, it wasn't like he was going to tell Erwin no.  He'd just have to deal with it.

Shaking his head and biting back the complaints he knew didn't mean a damn, Levi changed the subject.  Even though he didn't confirm that he would do as Erwin asked, they both knew he would.

"What about you?  Did your contacts manage to find anything?"

A frown returned to Erwin’s face.  "Like I said, more questions with very few answers."  He took a moment to open one of his desk drawers, pulling out a report and laying it next to Levi’s expedition report.  "I couldn't find a trace of her anywhere inside Wall Rose besides the last few years after she suddenly surfaced.  Even in the town she has listed as where she was born, the closest I came was a girl who shared a first name with her that died tragically over forty years ago.  Maybe it's where she got the name, considering it was a big deal in the town's history, but beyond that, nothing.  Before she appeared on the surface a few years back, she didn’t exist."

Erwkn held out the report for Levi to take.  "Her absence does, however, lend itself to your Underground theory.  Especially if you say she was in the Underground the night before the expedition.  I suggest you pursue that lead--you know the Underground better than anyone else here."

Levi hated the thought of going back down there, even if it was to find some answers.  However, he finally felt like he had something solid to pursue, and he wasn't going to let it slip through his fingers.  He was cornering her, and he was going to pull back the façade and find out what was really happening with her no matter how hard she tried to keep it concealed.

She couldn't hide whatever it was forever.  Especially with Erwin and Levi bearing down on her as hard as they were.

Enough questions.  It was time they started getting answers. 

Next Chapter--->

Levi Tags:  @clary-quinn @humanitys-hottestsoldier @whalerus @sunny-flo @thirstyforsometea​

Wings in the Dark Tags:  @regalillegal @animeluver23 @theshylittleelfgirl @queenthorin1 @dilucs-thighs @sociallyanxiousmouse

[raimispiderman]

From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

 As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi,  “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function  and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”

[sanstropfremir]

the hotly anticipated kingdom episode 7 review is here!!

this episode was a lot less spectacle-y than the last one (the last episode with stages, i mean), and i think that was a good choice for all the groups on the whole to tone it down on the run up to the finale, because at the rate everyone was headed there would be no room to go any higher. i'm very glad that there was actually a collab stage and not just a song swap, especially because it gives a chance for the boys to work together and make friends when they otherwise arent going to be able to interact much. love love love to see them making friends and having fun doing these stages!

i'm not really sure why mnet didnt put the vocal stage this episode, because what on earth else are they going to put in the next episode with it??? i know it's a content stretch but still, it seems like a weird choice to me. anyways, there’s four stages for me to talk about this time and i'm going to try to not ramble out of control, but we’ll see. i did enjoy watching all of these, but we’ve all got favourites and i'm going to rank by which group i liked better out of the two for each stage, and then i put a few conclusions at the end. strap in folks this is another long one.

rap stages

skz + btob + atz

i was actually really surprised at how much i liked this stage. i would not classify myself as a rap fan and believe it or not i actually do not place a lot of importance on lyrics when enjoying music. although i have very high lyric retention and comprehension, i focus more on the sound than the literal words, so a fair amount of rap is swing-and-a-miss in my personal listening. plus when you add a language barrier on top of that, a lot of the nuance and technical skill of it just flies over my head. so i really dont have much to say about the sonic elements this time around, sorry. also.....i know i joked that nobody from the kingdom staff is reading my reviews.....but is someone from the kingdom staff reading my reviews????? i specifically mentioned that i think skz should do an art themed stage and then we got one????? i know i manifested the punk ateez stage but did i manifest this also??? am i just that powerful???

costume

obviously these are pretty basic rap/hiphop stage looks, but the white was a really good choice for visibility’s sake, and also thematically: it reflects the colours in the lighting really well.

i am DYING to know who the designer of minhyuks jacket is. if somebody knows please tell me i love it so much. it looks like some of the recent belted jackets that dior was putting out, but the drawing on the front armscythe piece reminds me of the superm/kim junggi collab for tiger inside. say whatever you want about superm, but you cannot deny that that is not some of the coolest merch on the kpop scene.

loved the traditional korean elements that came through in addition to the western references: the screens, hongjoong’s fan, minhyuk’s big fuckoff brush, the masks, and the sleeves on the dancers at minhyuk’s bit. those are a costume feature from a style of korean traditional masked dance called bongsan talchum. the masks themselves are versions of hahoetal masks, which are used in a very specific archetypal ritual dance in andong. i think these are imae masks, who is the servant/fool archetype that mocks the nobleman and the scholar. i suspect that was a deliberate choice, but i can only speculate.

another point about the masks which is not relevant but maybe a fun fact for people who don’t know. i actually thought at first that they were western theatre half masks, which are a very old style of mask that, like with hahoetal masks, represent a number of archetypes/stock characters. maskwork is a very common training practice in theatre schools, because it teaches body language and control, because half your face is covered and you cannot speak in your own voice (sometimes you cannot speak at all, this is one of the rules of full mask). the tradition of usings masks to portray emotion goes all the way back to the ancient greek chorus, but more commonly people in the west sometimes know it from the italian commedia dell’arte, of which you will have definitely seen some of the character archetypes before. i just find it neat that the same types of art pop up in different places seemingly independently of each other. humans are cool.

set

not much to say here, it's pretty bare with just some propwork. thought the screen use was fun and they used it smartly in a couple of transitions. 

thought changbin’s bit of ‘interrupting’ the artists was cute and fun. there’s obviously a picasso reference there, and the four technicolour paintings are a reference to andy warhol’s pop art silkscreen portraits, most famously of marilyn monroe, but he also did many other celebrities in the 70s and 80s.

lighting

i LOVED this lighting. super bright and fun, lots of use of colour, obviously. the projections were there to enhance the visuals and weren’t distracting in any way. i thought the transition to black and white/ink with minhyuk was smart and had good contrast, it gave a strong rhythm to build back up to for the climax.

sound

bang chan’s ‘spelling colour with a u’ bit had me SCREAMING with laughter. we spell colour with a u normally bang chan, the americans are the ones that are wrong. 

staging

i don’t really have a whole lot to say here, it was pretty straightforward and fun. like i’ve said in previous reviews, i wish they were more conscious of the steadicam direction and would stop showing extended bits of the production crew. at least everyone was wearing full blacks this time.

fun use of the upward angle combined with the groundwork/leg choreo during hongjoong’s verse, that was a highlight for me.

sf9 + tbz + ikon

nothing against this stage, the other one just hit harder for me. bobby is the best rapper on the show and he really carried this stage with his charisma. he’s a fun performer to watch and he knows how to command a space. i'm sure there’s technical notes that people have about the raps themselves, but i'm here looking at visuals as a priority, which i'm sure you’ve all grasped at this point.

costume

these were clearly extensions of these idol’s personal styles, with is a perfectly fine choice, especially for a rap stage where the emphasis is more on authorship. LOVED bobby’s 11yro girl at recess look.

amusing that both rap stages involved paint in some way? loved the backup dancers shooting supersoakers filled with paint at them, but i wish i knew the reason for it? i'm glad i saw this stage first because i would have been underwhelmed by the paint throwing if i had seen this after rainbow bonanza.

set

almost no set at all here, just a few props. i'm not judging as harshly on lack of set this round because these stages are meant to be more about skill than anything else. 

lighting

i loved the projections, i thought they were unobtrusive and i admit, i LOVE outer space themed anything.

i liked that they did more concert lighting and had no projections in the first half to put more focus on the performers, it really highlighted the fact that this stage was about them, and not about anything extraneous.

sound

it was indeed a song.

staging

i do wish there had been a bit more control of the space, because it did look very empty at some parts and they could have staved that off by keeping tighter camera shots. this stage is so fucking big, holy shit.

they really brought their onstage chemistry and they looked like they were having a blast, which FINALLY!! 

i actually really liked hwiyoung’s opening, i think there was a lot of potential there for some sharp contrast work that i wish had been played through a little more, especially with the cool white light overtop the black costumes. it actually reminded me a bit of the intro in the music video from a rapper i do actually listen to, bewhy’s gottasadae.

glad to see some more use of camera effects with the black and white, but why did they do it over the paint throwing? it just made the trajectory of the paint invisible because there was no colour contrast.

performance stages

sf9 + tbz + ikon

ok obviously im gonna have a lot more to say about the performance stages, nobody is surprised there. this one was the better constructed of the two and my personal pick for better stage, but i actually liked watching the both of them equally.

costume

king shit, literally. we love contemporary hanbok in this house. there was good colour and style distinction between the three of them without clashing. 

costume change was fun and neatly blocked, it's pretty common to see backup dancers and chorus hiding quickchanges but i liked how this was a more unusual formation.

taeyang rocking the organza skirt and the big purple eyeshadow, thank you for keeping it cunty as always.

i really liked juyeon’s underlayer look. finally we get a good tbz costume look thats thematically relevant!

set

like all the stages this round, pretty minimal. the setting was almost entirely established through the costumes and the projections, which is some really good designwork. it's pretty much just the litters (the lifted chairs they entered on), and some smaller props. they managed to not make the stage feel empty because there was a lot of projection visuals to compensate, which is difficult to do without being overbearing, but i think they mostly pulled it off.

i originally thought it was gonna be weird to try and mesh the traditional korean architectural aesthetic with the weird mnet deco, but i ended up not noticing it as much as i thought i would.

lighting

like i just said, projections very well done and do a fantastic job of conveying setting without being overly distracting. like with the atz/skz/btob rap stage there’s a really broad range of colour use here that they offset by brightening and properly fill lighting the faces so you can actually see what’s happening.

the use of the strobing lasers and more concert style lighting fit really well with the change in the music from traditional instrument sounds to electronica and the more hiphop/isolated movements.

sound

i liked it well enough! i think it had a good arc that we can see echoed through the rest of the piece, like previously stated in the lighting and movement style. 

staging

like i mentioned with the quickchange, there was some really interesting formations using the backup dancers here, especially as a lead toward/away from the camera

having the three of them enter on litters; again, literal king shit, love to see it.

this has a pretty clear narrative that doesnt really need an external explanation, which is good. i have to assume that the burning of the paper with 妃 (concubine) is intended to be a gesture of ‘burning’ the love out of their hearts, but that was the only thing i'm still confused on. this may very well turn out to be a reference to a specific story that i just have no idea what it is, but we’ll see once the subs are out!

i loved juyeons solo bit with the alcohol drinking and the table flip, that was the choreographic highlight for me. i just really wish he would use the other muscles in his face more often. we know youre pretty, you dont have to blue steel your way through all your performances!! take a page out of donghyuk’s book and make some ugly faces, it's good for you!!

i though taeyang’s swordwork was fine, but since i do actually have a decade of sword training i'm very judgemental. it's not bad, he obviously has practiced with the weapon and he knows how to control it, but he doesn’t have the same understanding as someone who has trained with a sword as a weapon and not just as a prop. if we hadn’t seen another stage with swordwork in it i probably wouldn’t have brought this up (that's a lie, i still would have brought it up, i have a third dan), but you can really see the difference between how minhyuk moves with his sword and how taeyang moves. a lot of this has to do with the proper weighting of the blade, which i mention briefly in my second episode review in btob’s section (and also this ask here, where i talk about properly weighted weapons in relation to the gun choreo in sf9’s and ateez’s previous stages); minhyuk is likely using a ‘real’ sword (it’s blunted but still made using proper methods and materials), and taeyang is using a cheaper-made replica (unless you’re doing full contact striking a LOT there’s no way a properly made blade breaks like that. also you would never tape it together hello??? respect the blade). if you know what you’re looking for, you can tell from the movements themselves when someone has training. minhyuk did a load of real training for a film where he was a swordsman, and you can tell; the sword is an extension of his arm, all the movements lead with the tip of the blade first, because that’s your first, your fastest, and your most dangerous point. you do 90% of your cutting with the first eight inches of blade, but it takes a lot of specific training to get your hands and arms to a place where that kind of movement is possible. taeyang’s movements are driven from his hands, which is unsurprising, because that’s where he’s used to his extensions stopping. the tip follows rather than leads. wow this got insanely sidetracked i hope you liked this crash course on swordwork.

this is pretty much what i expected to see from this unit. these three groups all have standout soloists, so i wasn’t surprised to see these three boys as the picks. juyeon and taeyang especially, theyre both from groups that are more likely to do experimental stages and choreography that highlights them as soloists and skilled dancers.

skz + btob + atz

this was a letdown from ateez’s last two stages, because they knocked those out of the park, but it's only fair that they have a bit of a fall. that being said, i did really enjoy watching this for its sheer ridiculousness; i’m forgiving the wolf concept this time because well, it’s wolf. you can't cover wolf and not do a wolf concept, that’s against the law. also, like i’ve said before, i'm all for dark concepts IF you give them thematic weight. is it on the nose? yes. is it thematically relevant? also yes. is it dumb? also also yes, but that’s never stopped a single kpop group in the history of ever.

costume

friendship restored with ateez stylists, rivalry started with skz stylists. the fur shoulder fluffs??? stupid and i love them. perfect in every way. however i keep seeing the same fucking costumes on the skz boys and i will come directly for the stylists at jype if they dont get their shit together. be! more! creative!!!

i really really wish they had gone more 2013 kpop with it, we need more of that ugly ridiculous styling. peniel was actually pretty close, with the overly long tunic and those yellow lenses. very vixx on and on (yes i know they were vampires from outer space, let me live)

i actually thought the wolf gloves were fun? the small bits of uv paint actually worked instead of looking out of place, and i'm glad they put them on wooyoung because the uglier an outfit, the better he pulls it off. 

set

same dice, just the long table and the camo net at the beginning, which i thought was unnecessary. the table was useful for levels though, so happy to see they utilized that.

lighting

there is so much happening all the time. lots of lasers. it's definitely aiming for camp territory, and i dont actually hate it as much as i did on my first watch. it actually wasn’t as dark as i thought either, because its mostly lit with blue and amber. but it doesn’t really have that great of an arc and its not really that good on the whole.

the projections are a bit much for me, but that’s only when i'm actually looking at them. true to form, i didn’t even notice the excess of red slashes until like my fourth rewatch because i was too busy watching the performers.

sound

rookie exo my beloved. the original wolf goes so hard for absolutely no reason, so i’m not knocking this stage for being ridiculous. in fact it should have been more ridiculous. i think they did a fine job updating the song for a.....less 2013 sound. 

i like that they didn’t bother to live sing the stage even though they recorded vocals for it, it gave them all a chance to actually focus on just the dance.

that being said, i am kind of missing all the adlibs from the original. but even though there’s some strong vocalists in this unit, they aren’t made of the same stuff as baekhyun, luhan, chen, AND d.o.

i literally just realized that peniel had already debuted when this song came out AND is technically exo’s senior because btob debuted like two weeks before exo officially did.....oh no

staging

choreographically this feels a lot more like the skz stages that we’ve seen rather than the ateez ones, so i'm curious as to who the choreographer was. 

the tricking was definitely more ridiculous in this one, but i can't really say any of it was there for no reason because it all had elements of fighting in it. the scale of the tricks was quite large though and not very well blended with the rest of the choreo, which ending up making them look awkward. i thought it was a nice detail that they shone a green toplight on the dancers that made up the cliff wooyoung climbed up so that it looked like there was grass on it. cute.

the blocking is lacking a lot of fluidity, and i think that’s partially the scale of the tricking and also the editing, because this editing is TERRIBLE. there’s so much cutting, why is there so much cutting!! haven’t we already learned that longtakes are the best for this???

there’s a lot of stuff here that had good potential but could have been pushed a little farther. i feel like i say this for every mediocre stage, but what can i say, i'm good at constructive criticism. 

they should have given more showcase to the tree and the scratching arms; it's the most iconic move!! i also wish they had kept some kind of iteration of the different unit ‘leaping’ in over the exiting one, i always thought that part of the original choreo was really fun and did a lot for establishing them as wolves. 

i LOVED peniel entering with all those backup dancers in chains, thats some fucking iconic shit. very ‘im the alpha wolf,’ which is valid because he’s like at LEAST five years older than everyone else on the stage. i wish that instead of being the backup dancers it was the actual members, because THAT would have been an image. theyre all wearing harnesses and collars anyways, just clip em in! he’d be like one of those dogwalkers!

me last week: specifically talking about how krump is an uncommon style in kpop and it's very hard to get right kingdom, throwing the manifesting dodgeball at me for the third time: here would you like a KRUMP SOLO?

if you didnt believe me before that krump is hard to get right, i sure hope you do now. peniel did fine, but you can see how easily you can veer off into looking ridiculous.

some conclusions

i mentioned this really briefly in an ask i got earlier today, but i do think it's important to establish that the two performance units are doing two different types of performances. i can understand why people are underwhelmed by the atz/skz/btob stage and wanted it to be less of a traditional kpop dance stage and more like the experimental stages we’ve been seeing for the last few weeks. and i agree! i think they could have done more with it. but i also think that this kind of stage was a good choice for this particular subunit. unlike with the sf9/tbz/ikon unit, there are not really any standout technical soloists in ateez or skz. ateez has, in my opinion, the highest ratio of dancers with actual stage presence of any of the 4th gen groups ive seen. they’re at a solid 75% for any given performance, and occasionally they can bump that higher depending on the stage. that high of a stat is rare. it's extremely rare for a group to have all its members have good stage presence (i can think of like, maybe two or three?), and to get over 50% is pretty damn impressive. but ateez’s strength isn’t in how good they individually are as dancers, but it's in how well they work together. there’s a reason why they put FIVE of them in the performance unit. one of the first things i said about ateez to hanya is ‘i love wooyoung but he doesn’t stand out when he's not centre.’ which is for good reason!! he’s not supposed to! they all willingly give up centre and take it back when they need to, because they have that charisma. there’s a very cohesive push and pull to watching ateez that speaks to their strengths as performers. dancing in a group where you are all meant to be equal is a very different skill than just being a talented soloist. you have to understand what to prioritize in a different way. taemin dances differently with shinee that he does in his solo career, especially since they’ve been back. he understands when to step back; more often than not i find key to be the standout dancer in shinee choreo.

this is a very long winded way of saying that wolf was a good choice for them even though the stage didn’t turn out as well as it could have. also the fact that they made a cohesive performance at all, with a week of rehearsal and while working with essentially strangers is a feat and speaks to all of their skill at their job. performing in a group is a huge part of kpop, and they did call this the performance stage, and not the dance stage.

i'm not entirely sure on what the breakdown is on why each of the subunits were formed. i know the team sizes are extremely uneven, with sf9/tbz/ikon clocking in at 26 people and atz/skz/btob clocking in at 17 (i'm not counting changsub because he's not there and probably has a scheduling conflict), which is like, a whole extra group of difference. but atz/skz/btob utilizing their whole groups for each of the units (5/3/1 for performance, 1/3/1 for rap, and 1/1/1 for vocal, for 7/7/3 total), verses sf9/tbz/ikon only bringing out six people for these two stages and then six for the vocal stage is......weird? that's over half of their group number that’s not performing. i do think the groups brought out their standout performers and made smart choices with the stages but the balance still strikes me as odd. i do wish tbz had actually done some group choreo because they are very strong group performers and it would have been fun to watch.

ateez really played the long game here, good job boys. teaming up with the group who gets the highest fan votes AND the group with the strongest technical skills? i see you.

i think this is probably too wild of an assumption and is only based on circumstantial evidence but.....i think hongjoong might actually have a lot more creative sway than i previously thought. all the stages he’s been a part of have been very well designed, and i know he provided suggestions for the two ateez stages prior to this... i’m probably thinking too much. 

ok you know what i know there were some other points in my brain somewhere but this is already 4000 words so i’m going to stop. if i remember anything else its probably gonna end up in the answer to some of the asks i’m inevitably going to get because i think my opinions on these ones are a little bit more controversial, whoops!

not entirely sure if ill do an extensive review for next week’s stage, because i'm not really a ballad fan and i dont really do vocal reviews, but i could do a quick one. i guess it also depends on what else they put in the episode. we’ll see!!

[lsobelevans]

Horror tropes? In my Roswell, New mexico? It’s more likely than you think!

In this essay I will...

...be mentioning a few horror/thriller movies and while nothing explicitly gory or scary will be shown in this post, those movies definitely contain scenes and themes that can be disturbing/scary/triggering, do your researches if you’ve got doubts!

...be focusing on the Maria and Alex road-trip, from the moment the car breaks down to the last scene with Travis’ twin. I’m probably going to be led to briefly mention the other scenes that are intertwined with this arc (the echo date and the Planet 7 Kyle and Isobel scene, as well as the marlex car drive when I feel like it is relevant). 

...be approaching specific themes that are used in the scenes that compose this little arc and also more general ones like sound, editing, cinematography and color. 

... be reaching a lot. I do not think everything I will be mentioning is 100% thought-out and voluntary (although you never know). But I’m a firm believer that in filmmaking, yes even inside a CW show, the symbolism comes through subconsciously. So like, maybe they didn’t mean to use corn field as a mark for transition, but it doesn’t take away from the fact that this symbolism works with the story they’re telling and for the journey the characters are in that moment. Additionally, lighting, decor and costumes are always a choice, just like the camera doesn’t position itself randomly, someone’s behind and thinking of the composition of shots that, even if it’s in a basic way, has meaning.

... be starting chronologically but I’ll also make jumps backward and forward, grasping on themes when they come up. Ok, then, let’s dive in! 

This episode references and uses a lot of the iconic mechanisms of the horror movie genre. Alex and Maria’s comfortable road trip atmosphere, open hearted conversation in the car, breaks at the same time as the car itself breaks. The camera, steady so far, the shots following a well known pattern of shot/counter-shot, becomes more unpredictable and shakier and suddenly we’re out of the car, and bam, large shot. 

From the moment they’re out of the car, you won’t be able to see the horizon. Maria and Alex are stuck in a corn field, and they’re stuck in the frame. 

Then poof, Travis appears out of nowhere, accompanied with a pang of music, frightening us and them. Well, more exactly, it cuts on a shot that we’ve seen before without Travis, now with Travis, which gives us the appearing out of nowhere effect. 

Alex says it best.

Well now they’re stuck with a strange guy with an axe, and in a corn field 😬

Hey, have you seen he’s got an axe??? or do you need a close-up???

Okay, this scene ends there. So, let’s take a break and talk about cornfields. There’s many examples of horror movies making use of a field of corn as a location, famously Children of the Corn (1984), Dark Night of the Scarecrow (1995) Signs (2002), that last one also involving, you guessed it, aliens. 

Screenshots from the Signs trailer.

Corn fields are strongly associated with rurality, especially rural America. More largely, they can represent renewal, fertility or abundance. In the contrary, they can be seen as a very ominous location due to their immensity, a labyrinth in which you can’t see very far away and from which you’ll have trouble coming out. 

Although I’m pretty sure Maria’s chase in the cornfield is more of a reference to The Shining (1980) it reminded me of one of my favorite scenes from one of my favorite movies Tom à la ferme (2013), in which Tom is basically held hostage in rural Canada. The corn field chase is a turning point, the last of Tom's attempts to escape. 

Cornfields apparently also often imply scarecrows, which are inherently scary in my opinion but we’ll talk about it more later. 

The next scene takes place inside of Travis' cabin. 

The lighting here is pretty low, the light coming from a few small sources, creating a lot of shadows. The main color is a greenish/yellow which can be associated with nature and earth, rurality, dirty, suffocating. If we look at it, the color scheme of the entire road trip is very much following this pattern of browns/yellows/greens because of the cornfield and the color of the characters costumes (the exception being Maria’s truck which is a bright red). In opposition, the scenes that are intertwined are either blue and orange for Max and Liz or a lot of pink/blues/purples for Isobel and Kyle in planet 7 (bi bi bi).

The cabin is messy, supposedly reflecting the state of the owner’s mind. We get a nice close-up on meat + a knife and all of the creepy skins on the walls. Also, it’s noticeable that from this moment on, the camera is shakier, we experience different angles too. 

We are given many visual clues that something is wrong. 

I’m gonna pass on the sound of the sound of the cow parodying a werewolf + the vampire diaries inside joke. 

Btw, if the fact that Travis names his cows -- that he skins for a living -- like human women isn’t enough for you to think mmmm. we are in danger. Well, don’t worry. The cw spells it out for you!!

We know Alex! We got contextual clues!

Right after this, Alex and Maria make another direct reference to being in a horror movie situation. 

ALEX: This is why I don’t like horror films. The gay guy always dies first.

MARIA: ???? 

ALEX: Or... second. Okay, that’s fair. That look, that’s fair. 

I think this bit is interesting, because not only does it denounce an horror movie cliché (the black person of the cast dies first, the queer person is second) but also in this situation I believe it can be see as kind of a callout on the fandom’s behavior that i’m not gonna spell out for you but yeah. Fellow queer people, don’t forget you’re not the only one who is sometimes badly/unfairly represented. 

Moving on. In the next scene, Alex is searching the cabin for clues, and we are also given some about Travis. 

Either he has a twin brother or he’s got a framed picture of himself on his wall. Oh, and he’s military.

Then Travis startles Alex and plays a little bit of banjo, which is a good excuse to stop and talk about music. The show uses a lot of diegetic music aka music that is present in the universe of the story, that the characters can also hear. It justify the use of said music and it ties the audio with the picture.

The banjo already is heard at the very beginning of the arc during a cut from the planet 7 scene to the road trip scene. We get a few notes that indicate a change of scenery and that helps smooth up the transition, and I’m pretty sure it was also supposed to be diegetic music coming from Maria’s radio. The banjo, like the corn field, is super linked with rurality and rural America (again!)

Another reference of the banjo in horror/thriller would be Deliverance (1972).

I can’t not think of this movie when I hear banjo unfortunately. 

The way Travis plays, aggressively bad, and while singing I Think We’re Alone Now, is supposed to make you think about that scene in The Umbrella Academy be quite unsettling, another point for isolation horror. 

So sweet of Travis to attack Alex with a guitar, and then a smol knife, and not with the axe <3. 

Then we’ve got a traveling zoom-in (or equivalent I’m not sure it isn’t a steady-cam here but the effect is the same) on Maria. This kind of effect can feel a little bit over-the-top and dramatic, in a old genre movie kind of way. It is usually used to bring the audience in, make it feel like you’re evolving in the same universe as the characters (here you’re walking toward Maria). In a scene where you should feel scared, it can be a mean to make you feel more engaged, as well as underlining Maria’s expression, her fear. In my opinion, this is also a way to tell you that from now on, Maria is the main character of this arc, the one that you will be following after the commercial break (that occurs right after) and making it more suspenseful. 

The scene after the break is the start of the corn-field chase. Travis steps out of the cabin, the cuts are faster, many close-shots, some even out of focus, that accelerate the rhythm, and a long fade-in of a new song: a modern, electronic song (Kim Petra’s Close You Eyes) completely in opposition with the acoustic banjo and with the atmosphere of the scene, which makes it strange and makes you think oh, what a weird choice! (at least it did for me lol). The lyrics, however, go very well with the scene. 

I feel it coming on You've got nowhere to run There's no way you'll make it out alive

Yep. 

We find out right after that the music is in fact diegetic but for Isobel and Kyle, it’s another use of music to ease a transition between 2 scenes that are different in every possible way. 

Now, the corn-field chase. As I mentioned before, I believe it’s a direct reference to The Shining’s ending chase scene where Jack Torrance chases his son Danny through a vegetal labyrinth with an axe. 

From the shots to the lighting (from behind or on the side, making the characters look like silhouettes) both scenes are very similar. Also, Travis is styled like Jack Nicholson ¯\_(ツ)_/¯

Oh look, Michael’s here to save the day!

Oh well, guess not. 

Yeah, in this scene, and like we’ve been shown before, Maria is going to be the one that saves everyone. The racist cliché of the black character dying first in a horror movie is reversed, Maria is the last one standing. The scarecrow (that looked conveniently a lot like Maria) is supposed to play in favor of the bad guy, it’s a scary element, creating confusion and unease, but here the character decides to basically take it into her own hands and bend the rules. This character says i’m not that archetype, and she’s going to be using the horror movie tools against itself. 

Lastly, the final horror movie recurring theme that I’m going to talk about is the twin/the double. 

Yes, twins is a spooky tool used in horror movie because their similarities make them unsettling, uncanny. 

There’s also the idea that if one were to replace the other, you wouldn’t be able to tell. The impostor is a very scary concept that Roswell has also dealt with before. 

I can’t be the only one that has been traumatized by that halloween special of the Simpsons where Bart has an evil twin... 

It’s the last twist of the arc, there is a bad!Travis and a good!Travis. The bad one kept the other locked-up somewhere and had taken his place. 

It’s particularly interesting for Roswell that has a history with twins/doppelgänger, and that since the original show. It is a clear instance of in-world foreshadowing here! (howdy)

My conclusion about all this is that the people who worked on 2x06 had a great time building the episode and it shows, while also making it enjoyable to watch and yeah, we love to see it!