#kinnporscheep06

[luckydragon10]

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep07]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep07]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[tiedankelstotheocean]

The Kiss - Francesco Hayes

The Kiss - KinnPorsche (Ep 6)

[for @ellaspore]

[luckydragon10]

I remember back in episodes 1 and 2, I saw a couple people in the KP tag saying they were dissatisfied with Mile's acting, that they wanted "more" from him without specifying what that might be. I, being a scholar and a gentlewoman, did not engage and scrolled on by, despite my fiery opinions to the contrary.

Since episode 3, I haven't seen anyone even try to disparage his skills.

But I gotta say, I'd love to see the anyone try the same thing now. 🤣 They'd get eaten alive.

[luckydragon10]

Still thinking about Kinn commenting on Porsche's dick size...

...and if we don't get a snippy "Still think it's small?" from Porsche later when they're up to sexy shenanigans, I'm going to be so disappointed.

"Porsche is a grower" headcanon is firmly locked in my brain.

[springgg-anddd-alll]

I know everyone is obsessing over the scene in episode 7 but I CANNOT GET OVER THIS SCENE.

It’s just so wonderfully intimate and sweet and I love it so much 🥰🥰❤️❤️❤️

A Lovely Forest Swim (meta)

For starters, is it bad that I didn’t even think about the fact that they had to remove their clothes with handcuffs on? I see a lot of people questioning it and the thought didn’t even occur to me while watching…idk what that says about me.

But anyways: the forest swim scene. A.k.a., a moment of tenderness I was not expecting but was pleasantly surprised by. I think there’s surprisingly quite a bit to unpack here. 

#1 most prominent characteristic of this scene? Playfulness. That pretty much characterizes the entire episode save for a few riveting conversations (and let’s not even talk about that ending…ouch). They giggle like little kids and genuinely seem to enjoy each other’s company. Yet again, I was so surprised by Kinn here, because this is the opposite of everything we’ve seen from him so far. It just goes to show how utterly transforming the mafia business is, and just how much of himself has been sacrificed because of it. 

Kinn, ever the subtle man, suggests they hug for warmth. Why haven’t I seen anybody talk about the shoulder kisses? The definition of tender. I honestly don’t think they even realized what they were doing at this point; they were so wrapped up in each other that it didn’t matter. We’ve known since before the series aired that Kinn and Porsche have a very physical relationship, and we see that play out here. They’re on good terms as far as the playfulness/flirtation goes, but there’s still a lot of baggage to unpack. So when they naturally cave to physical touch like this, it brings my attention back to the concept of sex vs. intimacy. Sure they’re hugging “for warmth,” but their physical attraction is staggering, especially for Porsche. Porsche, who has been betrayed by Kinn on multiple occasions, leans into him so willingly here. It suggests that, while Kinn has broken Porsche’s trust, there’s still a level of unbreakable comfortability between them. The chemistry is undeniable. With the sweet guitar playing in the background, the entire scene feels appropriately woodsy and romantic. 

Kinn instigates the kiss, but Porsche is a willing (notably SOBER!) participant. It’s soft and tender, just like their first kiss on the dock. It’s them giving into the moment, leaning in to the chemistry between them. If Kinn hadn’t stopped it, I think Porsche was ready for a full on make out. It’s interesting to think about how it would’ve played out if Kinn hadn’t cut it off so soon.

For some reason, I wasn’t able to find gifs of the moment when Kinn pulls away, so I’ll just post screenshots:

What I like about moments like these are the elements of contrast. Despite the fantasy world they appear to be living in, reality still creeps in. From my perspective, Kinn is contending with guilt here. It reminds me a lot of The Scene in Ep4. We see Kinn reject Porsche in a similar way there, but not for the same reason. Here, I would argue that he pulls back out of guilt more than anything else. There is probably part of Papa Korn’s warning/lecture creeping in as well, but I see it as Kinn “catching himself” in a way he did not with drugged Porsche. He knows he made a mistake, and we know he feels awful about it, so to go on kissing Porsche before they’ve acknowledged the elephant in the room would only add to his shame (and forget the fact that Porsche is sober here and clearly wants/consents to the kiss). 

I was actually quite surprised that Porsche was willing to smooch after everything, but like the pier kiss scene, it seems like a product of the moment. The trust, comfortability, and desire between them, while threatened, is still very much alive. I do wonder if Porsche is surprised by himself at all here, but his facial expressions make it hard to tell. He frowns a bit afterwards, as if taking it all in, perhaps fully realizing what‘s going on; like Kinn, he’s coming back to reality, and he doesn’t like it. I’m going to assume that this moment plays into Kinn’s second apology at the end of the episode, as I believe it’s at least part of the reason why Porsche later tells Kinn that he had already forgiven him. He kisses Kinn despite the tension in their relationship, and he shocks himself for doing that, because it proves how much he’s already forgiven. From how I see it, there isn’t a conscious moment when Porsche forgives Kinn, but moments like these gradually reform the trust they had lost. 

On this same note, I think it’s imperative that we look at this moment from both perspectives. I’ve noticed while reading (and re-reading) this post that thus far, I’ve elected to look at the waterfall kiss almost exclusively from Kinn’s perspective since he is the one doing the pulling away. But when I think about it from Porsche’s perspective, I’m reminded that Porsche could’ve interpreted Kinn’s hesitation very differently. As the audience, we can assume that Kinn pulls back out of guilt, but Porsche doesn’t have that same vantage point, so it makes sense that this would make him question Kinn’s feelings. From that perspective, it makes more sense why he would have some reservations about clearing the slate between them later, so to speak. I do think this moment plays into one of their conversations at the end of the episode, which I detail more here.

Ok. That was a lot. But at its most basic, we gotta love a good wet smooch when we see one. 

I guess this isn’t so much a meta as it is just me rambling about the scene. But psychologically, there’s a lot to think about. The contrast between reality and fantasy is intriguing, as it could also represent the difference between the mafia life and the non-mafia life (for lack of better descriptors); it’s a distinction which will surely weigh on Kinn even more heavily after their time in the forest. Now he knows what he could have, which will make it all the more heartbreaking when it is suddenly stripped away again (as the final shootout scene indicates). In the context of KP’s relationship, I think the swimming scene represents their strong pull to each other. Their attraction persists, despite all the obstacles challenging it. 

[luckydragon10]

OP, why you gotta devastate me with lines like this?

It’s as if Kinn is thinking far into the future, where he can dream of them as just two dots on earth, unassuming, unsubstantial, just normal adults...

Cruel, so cruel to hurt my heart so much. As punishment, I'm throwing you in the Damn Good Meta doc. AND I'm following you. That'll show you a thing or two!!

the last bits of Ep 6, somewhat deconstructed

Hello, I’m here to throw this meta into the tumblr void because Ep 6 happened and my brain cannot cope. there’s a MILLION things i want to say and discuss (if anybody wants to be my friend in dissecting kp pls hit me up) but I’ve chosen…the later part of the episode for my sanity.

I apologize in advance for the low-res screenshots but I had to make do with what I could find :””””)

Keep reading

[story-told]

Also, see how Porsche is shadowed and Kinn is lit by a ray of sunlight? They're putting themselves in the other's shoes. They've established an understanding and they're well and truly on their way to knowing one another completely.

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[luckydragon10]

AAHHH omg yeah I noticed the yin yang outfit colors when they were hugging at the end but forgot to say anything,

Oh my gosh I love it when a post gets better.

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[luckydragon10]

SHIT SHIT SHIT SHIT!!! I MISSED SOMETHING HUGE! I'm embarrassed, but this was a big miss, and I gotta share it.

For the crevice scene in that screenshot above in @moerusai 's reblog, when I did my analysis I was looking just at the slopes against which they're leaning.

LOOK AT THE BACKGROUND ROCKS! LOOK AT THEM!

The background rocks are all the trash and abuse and doubts that are coming between them.

And then after they talk, they go and work together to clear the rocks away and make a path.

SHIIIIIT I missed it. Wow. That's so good, it's so bloody brilliant. OMG, time to curl up in a fetal position over how stupidly perfect this is. It's so good I want to cry.

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[antique-forvalaka]

Tbf, we do usually see Kinn on the darker side of a frame, while Porsche is often backlit with brighter colours. I'd slap some screenshots as references in here but i literally just woke up.

But the scene in the cave isnt the first time we actually get to see the reverse; irrc there's a shot in ep 4 irrc, during the dinner scene from hell, and during the scene where Kinn helps clean Porsche's gunshot wound as well. Just thinking through it right now, but so far it seems like what these scenes have in common is Kinn flipping the role of protector/protectee; but i'd have to think on that a bit more.

But what we also have is outfit coordination!! Porsche is wearing a blue Shirt and beige trousers, while Kinn is wearing blue trousers and a beige shirt. They're pretty much on equal footing, especially if we consider that Kinn in beige clothing is meant to portray his moral limbo as neither inherently evil nor good. Again, i'll think on this some more later <3

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[tiedankelstotheocean]

Now that you mention their colours I can see how the rock formation is literally on top of Kinn's shoulders almost like he's bearing the weight of the responsibilities of his world and the guilt he feels.

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

[luckydragon10]

I can see what you're getting at, @feralpansexual, but one alternative reading that @antique-forvalaka noted when we were watching together is that Kinn is in a warm amber light (a bit of both gold and red, which represent mafia and Kinn himself according to antique's color theory) and Porsche is in blue light (representing himself).

So, so many ways to approach analysis! It's never a dull moment.

KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.