#loft cinema

[vsthepomegranate]

Richard Kern in his apartment (1986)

by Richard Kern

[bowithoutadaemon]

I know it's never gonna actually work but anytime I need something that is within sight but out of reach I will STARE at it for just a moment.

Just in case my superpower is telekinesis and wants to manifest in that moment.

[toenzy]

Bug's Life! Which I have maybe only seen once or twice since.

what's the first movie you remember seeing in theaters? don't try and be all edgy and cool and say like tetsuo: the iron man. be honest.

Go!!

[daisybloggers]

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[keemy93]

1/12/24. American Fiction. Tonight was the Tucson premiere of American Fiction by Tucson native Cord Jefferson, whose writing credits include The Good Place and Watchmen (the HBO series). This premiere at The Loft Theater of his directorial debut was complete with a video message from the director sharing his love for the theater and urging us to go to Nico's Taco Shop after.

What a fantastic movie. I love watching a premiere with interested people. Baby the commentary be amazing! We all vibed with each other......felt the heart of the story, the meaning and the laughs. I do need someone to let me know about the ending though. Where do you think the "story" started and stopped?

[ophelialoveshandsomemen]

Say what you will about Van Helsing 2004; hate it, love it, be indifferent, But the All-Hallow's masquerade ball went sooooo hard and it had zero right to do so! It's a fun, campy, monster mash movie with wonderfully dated ( and expensive) cgi and non-stop action meant to be a popcorn flick one takes out to watch around spooky season. And it has this* chef's kiss* GORGEOUS 6 minute sequence plopped arbitrarily in the second act, which unexpectedly surpasses nearly every other ball in the last 30+ years of film( notable exception being the Cinderella 2015 ball) for literally no reason other than to be dramatic af.

Like feast your eyes on this Gothic masterpiece!!! Who doesn't want to immediately live in this picture?!??

They used those candles with oil in them so that they would have real candles, real string orchestra( I believe), probably around 100 real life extras( something which is tragically absent in modern film), said extras are all in beautiful fully decked-out costumes( which are in luxuriously dark colours, but nearly no fully black, another thing you cannot say for much modern cinema), REAL CIRQUE DU SOLEIL PERFORMERS for all the acrobatics!!!! Hell, instead of filming in a sound stage, where they could control the reverb and the acoustics and the size of the set and the bloody lighting ( they apparently had a heck of a time emulating the firelight for this sequence) and the temperature( it's very cold in stone churches!) better, they filmed in a Baroque church in Prague! As I said, peak dramatic splendour, jfc...

Think about that a second...They filmed a vampire masquerade in a Baroque Catholic Church( St. Nicholas' in Lesser Town, if you were curious) with amazing over-the-top acoustics and marble statues and real, tiled floors and marble pillars and a choir loft which they very much utilized, covered the pipe organ and the altar with a grand brocade curtain so it wouldn't be so obviously a, you know, a church! And there's a gold gilt elevated and canopied pulpit into which they put two vampire kiddies for, again, the sake of being dramatic.

And the costumes! They remind me of the 25th anniversary Phantom of the Opera Masquerade costumes. Same quality, like they're old, well-cared-for costumes pulled out of a warehouse, instead of fast industry churn-outs. With lots of trim and colour and masks and lace and feathers and..just...ugh.. they are all perfect! Just look at all the head pieces on the ladies and the hats on all the gentleman ( save Dracula of course) and the powdered wigs on the musicians. ANNNNDD! The dresses are historically correct!!!!!! It's the 80's bustle era! Nobody does the 80's bustle era in film anymore and it's a bummer. Oh and one other thing! Anna's ( and other women's) hair, at least here in the ball, is also historically accurate because it's all pinned up! None of those fucken modern beachwaves at a ball! Everybody's got updo's!

Gah, I swear, Dracula in his gold cloak really does things to me in this scene!

By the way, the acrobatics are bonkers in here for just background stuff!! Especially the random guys on unicycles and the dude playing the violin whilst standing on a ball...Like....WHAT?

Anyways, all this to say, that this masquerade ball feels sooo real and tangible and because of that it blows every other film out of the water, and no, I will not change my mind!!!!!

Here's a few more gifs, bcuz, why the hell not, this scene is sexy as fuu*ck?

Alright I need to go to bed now.

[geniewithwifi]

Modern Family Room in Lille Example of a medium-sized minimalist family room with a light wood floor, white walls, no fireplace, and a wall-mounted television.

[dreamsforthedamned]

Nightbringer's HoL layout personally pisses me off, so I made a better one.

Ground Floor:

Garden and Patio

Entrance Hall (lower level)

Living and Dining Room (it's the same room!)

Music Room + Planetarium

Kitchen, now actually sharing a wall with the Guest Bedroom!

Laundry Room

Guest (MC) Bed&Bath

Common Room + Communal Bathroom

Library (lower level)

Lucifer's Secret Study

Stairs to the basement

Communal Study (Not fair that Luci gets a whole secret study all to himself and the other boys get NOTHING. So i fixed that)

A Broom Closet. Because why not

Garage (it's actually just Mammon's weird-ass loft)

2nd Floor:

Entrance Hall (up those big stairs)

The famous Hallway

The Attic Stairs

Satan's Bed&Bath

(I refuse to believe this lore of "ooo all the brothers share a bathroom except asmo" like do you really think 6 whole ass grown men would be capable of sharing One (1) bathroom and go to school in a timely manner)

Asmo's Bed&Bath&Giant Closet

Lucifer's Bed&Bath

Lilith's Mirage Room

Library walkways

A Lounge Room, leading to one of those weird wacky balconies inside the entrance hall

Another communal bathroom (7 people. 7 ENTIRE PEOPLE)

The Twins' Bed&Bath

An Interior Garden, cuz that sounds like something a rich person would have

Basement:

Levi's Bed&Bath + Aquarium for Henry 2.0!

Mams' Bed&Bath + Weird garage loft

Storage Room

Home Cinema (rich people stuff)

Pantry

Stairway to the Underground Tomb

Feel free to use it as reference! If you end up building it in anything, pls pls pls tag me I wanna see it

[teencopandthesourwolf]

“Why did you ask me that?”

“Huh? What's that, big guy?” Stiles mumbles, answering the query with one of his own without looking away from Derek's laptop screen. The laptop Derek kind of bought for Stiles for when Stiles is at the loft.

Whatever. 

There's a ballpoint pen shoved in the kid's mouth—God, that mouth—and another slid behind an ear, the latter ready and waiting for Stiles to click to death in the In Between Typing Times.

The others dispersed a couple of minutes ago. Apart from Derek and Stiles, only Lydia and Deaton now remain at the loft and they're deep in conversation about the preliminary theory of who or what is killing the humans of Beacon Hills this week, and are standing at the opposite side of the open-plan space, making more coffee. Scott and Malia left to rally the other ʼwolves—not answering their phones as they're at a cinema screening—plus find and talk to Argent to arrange a pack meeting proper about the situation, so they can all work on devising a plan. Granted, there is Peter to consider—who's probably still lurking somewhere, what with lurking being one of his favourite pastimes, and can obviously hear any and all conversations that are, or could be happening inside of the building. Sadly, Derek has never been able to hide much of anything from his uncle though, so.

He thinks about elaborating on the question he asked Stiles, but can't.

He tries not to stare at Stiles, and fails.

Stiles is squinting at the screen with intent and looking like he has forgotten that Derek said anything at all. Or that Derek is still hovering close by. Or that Derek, you know, exists.

Derek is just standing there, all difficult and awkward in his own fucking home and his own fucking body, looming over Stiles like a creeper as Stiles taps away furiously at the keyboard and violently zig-zags a fingertip across the mousepad like an actual lunatic.

Derek almost laughs at that.

The Boy Who Runs With Wolves.

“Why wouldn't I?” Stiles now asks, still mumbling around the chewed ballpoint Derek is trying not to be jealous of. 

“I—what?” Derek's caught off guard; always and only by Stiles. 

Stiles doesn't skip a beat, unlike Derek's heart. “Why wouldn't I ask?” he adds.

Oh, right.

“I, uh, I don't... ” Derek trails off pathetically, swallowing any confidence he had previously mustered and looking away from Stiles, even though those big, brown devastating eyes aren't actually looking at Derek because they are, of course, still zoomed-in on whichever web page is currently yielding the most information.

Dusk is quickly closing in and all around them and the light filtering through the loft's huge window has begun to dim somewhat, so that the glow of the computer screen is now filling Stiles' eyes with bright, dancing sparks and arrhythmic shapes as they flicker like lightning from one tab to another, then another, then another. And as mesmerising as it is to watch—Stiles looking as though he is brimming with magic—the sight becomes too much for Derek, and looking away feels like his only option.

It doesn't last.

Stiles' long, large-knuckled fingers still their rapid movement just as Derek's eyes find their way back.

Derek watches the kid some more, like a lifeline.

An anchor.

Then, Stiles is taking the pen from those perfect lips as sneaker-toes slowly spin the swivel chair around, so that Stiles is now facing Derek where he stands with arms crossed reactively over his chest.

His heart.

“I asked if you were alright because I wanted to know if you were okay, man," Stiles divulges, as if that's nothing at all. As if it's something Derek hears often. He tilts his head to catch Derek's eye, which works, of course, because it always works, no matter the nature of the moment they're caught up in. "Like, I was concerned, y`know?” 

Derek feels guilty just for looking. And not only because he wants to touch but because he wants to let Stiles care.

“I care, dude,” Stiles says on cue and Derek tries to self-implode while Stiles waits, probably for Derek to look at him and say don't call me dude and hoping not to have his head bitten off or his throat ripped out. 

Derek does look again, just not for long. Barely a glance. He can't afford himself too much Stiles, not when Stiles is looking directly back at him. It's safer that way—self-preservation and all.

“You do know that, right?” Stiles tries again. “That I care.” 

Derek wants to ask Stiles if they can talk, if Derek can tell Stiles things. Derek wants to ask Stiles if he'll stay, and if he'll let Derek spill his secrets, let him tell Stiles everything, like Derek never does with anyone these days, and if Stiles will hold Derek's hand when Derek cries about it, like Derek doesn’t allow himself to anymore. Derek wants to ask Stiles if Derek can touch him and hold him and if Stiles would hold him back, if Stiles would ever want that, if Stiles could ever be his.

“Don't call me dude,” is what he actually says because he can't not. But then he steals himself, head staticky and heart thumping as he dares himself to add—after what is undeniably too-long a pause—“And yeah. Maybe I do.” 

Then they just look at each other.

Just—look.

Look and look and look and look.

They each keep looking at the other, for a very long time. Definitely too long for two people supposedly not much more than acquaintances. Allies, maybe. Comrades at tenuous best.

Then they look for longer. Look for more. Look until it starts to feel as if they are the only two people in the room, in the building, in the world.

Whatever happened to self-preservation?

Something is starting to happen, and Derek is pretty sure it's not just happening to him, and he finds he is equally stunned as he is thrilled as he is completely fucking terrified about it. 

Eventually, Stiles says, “Derek, we're friends.”

Then he's licking his lips and looking Derek up and down, shameless, adding—with a nonchalant shrug of one shoulder—“Till we're not.”

The latter part is spoken like a secret, but one without the slightest hint of malice. That's not how he means it. It's more promise than threat, if Derek is remembering correctly what genuine affirmations sound like.

The sparks from Stiles' eyes are then flashing blue in Derek's and Derek could swear he hears every every one of his neurons firing inside of himself, all at once, as each of his mutated cells flare into overdrive; nail beds and gums tingling, the short hairs on the back of his neck and arms and hands standing up on end.

He feels utterly alive.

It's honestly a struggle not to keen and whine like a pup, and Derek has truly never been more happy of the fact that Stiles is unable to scent chemo-signals because Derek would be so fucked right now.

He has a reply for Stiles but it's caught in his throat, the sentence forming then solidifying, fast as a quick-drying glue.

Derek is just—standing there. Statuesque. Alternating between trying to swallow his words down and attempting to speak them, like a first class dipshit. Just looking and looking and looking at Stiles.

In an entirely mortifying turn of events, it is actually the sound of Peter's low, mocking chuckle from some tucked-away shadowy place in the loft that is the thing that forces Derek unstuck, and it takes all Derek has to not roll his eyes to the back of his skull and growl out I'm going to kill you again now, Uncle. 

He takes a breath, un-clenches his fists and tries for a smile—or at least a hint of one. He doesn't want to freak the kid out.

Derek then manages to repeat Stiles's words back at him, no more than a whisper.

“Till we're not.”

Stiles is just looking and looking and looking at Derek, before he's asking, “Can I stay for the evening? You can talk to me while I research. I always work better with noise. It'll be soothing,” like he's ordering pizza instead of answering all of Derek's prayers.

Derek notes how the kid's usually erratic eye-contact is weirdly as unwavering as his usually erratic heartbeat, which is now weirdly steady as a metronome.

That's a lot of weird. 

Derek fights the urge to bite into his lip with his fangs. He wants to draw blood, and to taste it.

He embarrassingly feels his eye twitch and his breath hitch as he dares himself to do this. 

He sputters, “What do you want me to talk about?”

Stiles slowly swivels back towards the light of the laptop—ethereal milky skin and dark moles once again luminous in its white-blue glow—at the very same time as the evening's first moonshine peeks through clouds and seeps in through the loft's huge skylight.

Derek is memorised. 

Stiles starts annoyingly clicking away at the Clicking Pen, while shoving the other back between those beautiful lips of his, now mumbling his words around the thing once more and speaking them as if they are the most obvious thing in the universe.

“Everything, Der.”

.

for @poebin for asking <3 (unedited, soz)

[louisferrignojr]

i know the fandom has latched onto tommy's house (the fixer-upper with the car lift and the muay thai set up and what not) and people have bought into whatever insider info was being given out about “a new set being built” alluding to it being tommy's house that we'll get to see soon (i dont personally believe it)

and although i don't hate the loft and what it means for buck's character development throughout the show, i am 100% on board with buck moving out of the loft because it's served its purpose and it's time for him to move on - and moving out of the loft to move in with tommy? his person? poetic cinema.

but i would love for buck and tommy to find a place to live together. same as maddie and chimney and their haunted house, same as hen and karen and the house they bought together before they even got denny, same as bobby and athena deciding to build a new house for the two of them. please, give bucktommy this storyline, too. it would be so beautiful.

and as always

[saucerfulofsins]

I haven’t seen any posts comparing Buck’s coming out to Eddie and Tommy breaking up with Buck, which is a shame because the similarities drive me insane.

Or well. I say similarities, but that’s wrong. What I should be saying is: these scenes mirror each other. This post is more about the highlights than shot by shot comparisons – for that, I’d recommend you watch them side by side yourself.

Let’s start with the first and most obvious structural parallel: both scenes happen around 32 minutes into their respective episodes/between two-thirds to three-quarters in.

Now, for the scenes themselves. They follow the same basic outline, which I’ll discuss one by one. I’m following the same structure throughout: I discuss the coming out scene, then the breakup, and then give some analysis. At the end, I’ve included a section on further things of note that I couldn’t neatly fit into this structure and my final thoughts. Is this the first time I’m using the media analysis I was taught during my minor in Arts, Culture and Media with a focus on film in 2019? Yes, yes it is.

Buckle up, because this meta/essay is nearly 3k. For that reason (i.e. accessibility/readability and the amount of work I put in), this entire piece has been cross-post to AO3 (CLICK FOR LINK).

Opening shots

Seating 1.0

Buck in the kitchen

Seating 2.0

POV shots (both perspectives)

Eddie and Tommy leaving

Miscellany

Final thoughts

Analysis under the cut:

1. Opening shots

This part includes some of the most noticeable differences between the scenes, which explains why they feel different – at least at first.

CO: Eddie’s phone comes into view first – this is his chat conversation with Marisol, which the first part of the CO scene is about (note how this mirrors the gym scene, where Buck intended to come out before the conversation lingered on Eddie and Marisol). Eddie is also closest to the door during this part of the scene – which is where he will remain throughout.

BU: The first shot is of a closed door, which Buck opens for Tommy, i.e. Tommy certainly has no keys to Buck’s place, and this might well be a callback to doors as a recurrent theme. They greet with the briefest kiss possible. I rewatched this several times to make sure it really happened – it happens immediately after a cut and it’s filmed in such a way this could easily have been an air kiss lmao. (No seriously, I had to watch this screen by screen to properly catch it, and the audio is a lot more obvious than the visual). They make small talk about the movies and Tommy having ordered an uber (clearly a throwback to 7x05), and they switch positions so Buck is actually closest to the door.

As for clear similarities: Eddie and Tommy are standing up and remain mostly in the same place; Buck is moving around the loft – it’s an expression of his nervous energy, and the major changes in these scenes are about Buck, not Eddie or Tommy.

2. Sitting down

I made this a separate point for one reason, and one reason only: In CO, Eddie takes his own initiative to sit down, while saying he should go home and Buck offering him a beer, so clearly he won’t be leaving to go home any time soon(ilu Eddie but I’m begging you, stop putting yourself and also us through this 😭). In BU, Buck tells Tommy to sit down... which is in part to signal they need a more serious talk than can be done on the way to the cinema, but also shows a massive contrast in terms of familiarity and comfort, regardless of what Buck tries to tell Tommy later.

Both Eddie and Tommy sit down on the leftmost stool (closest to the door, i.e. it’s easiest for them to leave and Buck can’t get between them).

3. Buck in the kitchen

Fun fact! Before writing this post, I checked the scene where Buck confesses to Taylor that he kissed Lucy. During that scene, Buck is sitting down at the kitchen island, while Taylor lingers in the kitchen proper (i.e. with the island between them). She has moved in at that point – kitchens represent ‘being at home’ – but there’s a physical barrier between her and Buck, and it doesn’t actually keep from her leaving (even while saying she has nowhere to go).

CO: The camera uses a dolly shot to follow Buck throughout the kitchen – to the fridge and then back to the head of the kitchen island. He’s attentively listening to Eddie complain about Marisol and God watching him have sex (cursing God while sluttily drinking his beer).

BU: Buck walks out of view of the camera, through the kitchen, and there’s a dolly shot to the right to focus on Buck finding his place on the head of the kitchen island. He leans on the counter at this point. He does have a pretty open posture (identical to CO); Tommy sits with his hands/fingers folded together but he’s turned to Buck i.e. paying attention.

This is the position Buck has when he comes clear to Tommy about having dated Abby in the past; it’s also when his phone comes into the picture. Well. Pictures. Of Buck and Abby.

4. Seating 2.0

This is the longest section of analysis, and contains the part that makes me SCREAM but let’s start at the beginning. From the moment Buck sits down, the conversation turns serious in both scenes. This dialogue consists of mostly POV shots (which I will discuss next), and these medium shots that show Buck and Eddie, and Buck and Tommy.

CO: Buck sits down while Eddie says, “You and Tommy have the right idea, stay single.” This very clearly introduces a new section of the scene. Overall, the lighting of the loft is muted besides the yellow for visual interest and gay Eddie, thank you for your hard work Buddie colour theorists. Buck’s dining table is unlit and barely visible, so the space really takes a back seat and allows us to focus on Buck and Eddie. Please take note of the chair between them – this serves as a physical barrier, where someone is getting between them (a place for Marisol and Tommy, respectively).

BU: Here, the segway happens right after Buck’s come clear about being Abby’s ex 2.0. He sits down on the middle chair, but it’s quite obvious he’s shoved it away from Tommy. In fact, compared to CO, Buck is almost at the same distance from Tommy as he is from Eddie. There’s a barrier between Buck and Eddie, but there’s space between him and Tommy. This is emphasized by the lit dining table, which draws even more attention because of the white decorations: the loft is a space to be distracted by, focus on or even flee into.

Now. This is what kickstarted my obsession with these scenes, especially the coming out scene. The chair between them? Buck reaches out to Eddie, leans his arm onto it and in the process drawing attention to it. He actually leaves his arm there for an extended period, throughout several of the following shots, and only seems to pull back when he says he and Tommy were on a date.

The following shots – of Buck’s coming out and Eddie’s initial response – are back and forth POV shots. The first shot from medium distance, is this:

Do you see it. DO YOU SEE IT. Do you see what drives me crazy! Eddie is mirroring Buck’s earlier posture – also this is immediately after Buck says Tommy left him on the curb (i.e. Eddie realizes there’s no Tommy getting between them). Eddie’s not just opened up, he’s reaching out, extending his arm back onto that empty chair between them. And again, like Buck, he leaves it there for several shots. It’s still there when he tells Buck to call Tommy, although he briefly vaguely gestures to himself during the “He’ll love you! We all do!” It’s not clear when he takes his arm away; no shots show it and then he’s getting up.

This just. This drives me insane.

For comparison, Buck doesn’t reach out to Tommy during the BU scene. And, compare Tommy to Eddie:

5. POV shots

Okay, the section header is a bit of a misnomer because the scene consists mostly of dialogue and therefore has POV shots. Like I said, there’s also overlap between the POV shots and the wider establishing shots I used in section 4. The bulk of this part of the scene, however, shows a lot of over the shoulder close ups with quick POV switches. In both cases, this is where the subject at the heart of the scene is discussed.

Now, these differences are pretty small and they could be a consequence of these episodes having different directors. However, there’s zero doubt in my mind that Chad Lowe closely studied the CO scene for its sheer number of cinematographic parallels and therefore it might be entirely on purpose too YAY.

There’s some variation in the distance of these shots, but the most intimate ones look like this:

(Still not over that face he’s pulling here, dear Lord). Buck takes up most of the screen – his shoulders are visible, but the top of his head isn’t. I guess this is technically still an over the shoulder shot, but barely. Eddie is out of focus, just enough there to be a blurry ear. These shots are intimate. This is almost what Eddie is seeing – and actually these shots make it feel like they’re sitting a lot closer than they actually are.

"Until now.” Buck’s entire face (including hair) is in the shot, and we can see Tommy’s shirt. This is the closest/most intimate we get to see him (and Tommy, in reverse). For both sides, they’re very clear over the shoulder shots. Yes, this is intimate – but it is not intimate. A quarter to a third of the screen (esp as the conversation moves on) is dedicated to the other person. Buck is more visually interesting too. He has more colour in his face and his background is more clearly white than in CO, whereas Tommy blends in more with the brown coat rack background (shout-out to @sparklespiff for pointing out that difference while I was trying to figure out why Buck felt more noticeable, btw).

SIDENOTE: I know some posts have already been made about the pictures on Buck’s fridge and Eddie’s mantelpiece, like they seem thematically relevant (or perhaps not yet, but soon). Buck’s walls in general have more pictures on them in S8, which is evident both in Buck’s background and Tommy’s. I am nowhere near talented enough to identify them, but going by their general colour and composition, I believe all of Buck’s wall art pieces are that, art, not family photos.

6. Eddie and Tommy leaving

These scenes have some of the clearest parallels, and of course an incredibly clear difference in how Eddie and Tommy are leaving Buck.

CO: Eddie leaves not because of Buck (well, not technically), but because he has to go do something: “I gotta go talk to Marisol.” Buck is smiling while Eddie gets up and is on his way out. Of course, this is when Eddie stops, turns around, and Buck looks up. In fact, Eddie says “Come here” but he’s the one to walk up to Buck to give him a hug. Buck just stands up from the chair. During the hug, we get shots of both Eddie’s and Buck’s faces, and of course Eddie holding Buck’s shoulder. When Eddie leaves, we hear the door open and shut – the focus stays on Buck.

Again, when Tommy leaves, we only hear the door while the camera cuts to Buck. The show then picks up his response (with the same expression) during his arrival at Eddie’s, where Eddie lets him into his home.

BU: Of course, Tommy has nowhere he needs to go to (hello, return of the failed cinema date) – when he says “I should go” it is because of his conversation with Buck. There’s a medium wide shot of him getting up while Buck looks confused, looking like he’s about to reach out for Tommy – the first time during their conversation. The camera uses a slow dolly to the left, which is when Buck calls back Tommy to ask for clarification: “Did you just break up with me?” Tommy says, “Yeah, I guess I just did.” This has been pointed out before, but they’re clearly not sure. Tommy also says, “Believe me, I didn’t see it coming either.” (Was LFJ speaking from Tommy’s perspective in that interview?). That line is fascinating, actually, because only moments ago, he was incredibly adamant about being Buck’s first, not his last. This feels like a throwback to “Enjoy it while it lasts,” leaving them both overwhelmed/confused.

Look at how similar these shots are! Also, the reason I was adamant about calling these scenes mirrors and not parallels is because Buck and Tommy greet each other with a moment of physical affection (which, as I mentioned before, is incredibly short and barely visible). Eddie wouldn’t have ordinarily but feels it’s important to hug Buck to show him nothing has changed. In terms of meaning and cinematography, their interaction is a lot more substantial and reciprocal. They’re also making sure to leave on good terms – whereas Buck and Tommy meet on good terms, but part essentially as strangers. Buck and Tommy ending the scene like truly feels like an end. Buck and Eddie’s scene feels like a significant shift in their relationship, and for me part of that is a result of Eddie hugging Buck, and shaking up their routine.

7. Miscellany

Just some bits and bobs I couldn’t fit elsewhere in the analysis!

“I like him too. Just not the same way as you.” 7x05 was truly out there foreshadowing 8x06’s “I am not gay.” (I want to do a full 7x04 + 7x05 parallels post at some point, but that’s going to be a fuckload of work and possibly even larger than this post).

Like I pointed out, Buck and Eddie drink beer during their scene (which they often do during their conversations). Buck and Tommy are breaking up without accoutrements. Of course, we know Buck brings over beer to Eddie after the breakup. Because the scenes mirror each other so closely in every other aspect, it feels incredibly poignant: Eddie again fills a role in Buck’s life Tommy should have had. I also figured I’d check their fake brands, and they are different labels. I would assume Buck brought a new flavour, considering Eddie’s looks.

Speaking of continuity, Buck opening the door to Tommy in a sense mirrors Eddie opening the door to Buck at the end of 8x06. The key differences in their cinematography is that during BU, the establishing shot of the entire scene is of the closed door without a peephole shot. When Eddie opens the door, it follows his Risky Business tribute so the door takes up less presence, and even when it’s closed, Buck is clearly visible through the peephole.

Phones clearly are connected to (past) female love interests; Eddie is interacting with Marisol but it’s through text and impersonal – we don’t see the messages, we just hear Eddie complain. On the other hand, Buck is out of contact with Abby but he still treasures that relationship – otherwise he wouldn’t still have those pictures on his phone after 7 years. I guess that’s kind of cute? Idk, I never really liked Abby or how she treated Buck, but Tommy’s speech has turned me into an Abby defender lol

Like Buck, Maddie also stands at the head of the kitchen island during her conversation with Chimney. Chimney’s in the kitchen proper, though, and Maddie walks up to him so they can actually stand face to face and be happy about the new pregnancy together! (I genuinely missed that scene the first time I watched the episode, I was so caught up in the bones of it all SORRY MADNEY I LOVE YOU FOREVER).

8. Final thoughts

I mean. Are we really surprised? I’m not! Actually that’s a lie. I saw the similarities but was shocked at just how close these scenes are in full. However,I do think this scene in particular does a lot to show just how deliberate these parallels between S7 and S8 are (and between S8 and previous seasons in general – we’ve seen similar/near identical cinematography a couple of times now), and how deliberate the parallels are between Eddie and Tommy (who are literally taking up the same position in these two scenes).

And just. The fact it’s the coming out scene between Buck and Eddie, which was about opening up & telling the truth, and it doesn’t change anything (allegedly), versus Buck and Tommy, which is about opening up & telling the truth, which changes everything... it reaffirms how I feel about the coming out scene – this is a major moment of change, and that change is deeply entwined with their respective romantic relationships. AAAAAAAAAAHHH!!

[heart4buddie]

But what’s so funny is that no matter whether Buck calls Eddie to come over or Eddie just shows up, it’s going to be fucking magic! Like Buck waking up with a boil or whatever and calling Eddie? Brilliant. Amazing. Showstopper. Eddie just showing up to Buck’s loft on his own? Amazing. Brilliant. Poetic cinema. I love every possible way that this situation might have happened!

[franglishetchocolat]

A Theater for Riverview.

WILSONOFF COMMUNITY THEATRE

Built on patch 1.67 - Originally in Riverview where the RH Theater used to be, so best placed there (Size:20x25) - Lot label = Nerd Shop

2 buildings: A theater (with stage from Showtime) /cinema (big screen TV from Showtime) / music academy (sort of), and a bookstore/ comic book store /video game shop.

Using Items from: 

No Store Item

Using Movie Theater and Bookstore rugs by Cazarupt

EPs: WA, Ambitions, Late Night, Generations, Pets, Showtime, Seasons, University Life and Island Paradise.

 SPs: High End Loft, Fast Lane, Outdoor Living, Town Life, Mastersuite, Diesel, the 70s, 80s,90s and the Movie Stuff packs.

DOWNLOAD

I use markers on my lots: skip level, hidden room, public room… So to be able to modify any of  these buildings you need to have cheats on:  ‘testingcheatsenabled true’, then ‘restrictbuildbuyinbuildings false’ To see/remove the markers you need ‘buydebug on.

[thatrickmcginnis]

PHILIP GLASS, Toronto 1989

I couldn't tell you why Philip Glass was giving a press conference in the backroom of the Rivoli on Queen West back in February of 1989, but he had a lot going on at the time and since memory fails me you'll just have to guess. Born in Baltimore in 1937, Glass is easily among the most famous composers alive today - a great accomplishment since his music, when it was first performed in the '60s, was considered hopelessly avant-garde. He accomplished this mostly by making himself ubiquitous - composing and performing his works everywhere he could, and taking on commissions like movie soundtracks to help make his distinctive version of minimalism less forbidding and more mainstream. I was part of that generation who came of age as Glass' music went from loft to music festival to opera house to movie theatre, so when I heard he was in town I tried to get a few minutes of his time for a portrait - and failed.

An invitation to a press conference with Philip Glass in the back of a club was my consolation prize when I couldn't arrange a portrait sitting. Normally I wouldn't have bothered, but I wanted to get some kind of portrait with Glass, and if an unposed, "undirected" portrait was all that was available, I'd take it. (I still debate whether this is a portrait at all, but a lot of people say it is, so I'll go with the crowd.) The late '80s were a crucial time for Glass: besides the soundtrack to Powaqqatsi (the sequel to Koyaanisqatsi, one of the great rep cinema stoner films of all time) he had provided one for Errol Morris' acclaimed documentary The Thin Blue Line, and he was working in more conventional classical idioms, like the string quartet and symphonic compositions. He could have been promoting any of these things when he sat down to talk to the press that morning in the Rivoli backroom.

When I pulled out my camera to photograph Philip Glass during a morning press conference in the back of a downtown club, the first thing I noticed was that there wasn't much in the way of light. I had come prepared, loading my Pentax Spotmatic with high speed Kodak film, but once I was able to judge that I had a decent exposure I was actually grateful. While I couldn't demand his attention like I could with a real portrait session, the single spotlight in that room with its black walls picked him out starkly; without any distractions in my composition, I was practically forced to take a minimalist portrait of a minimalist composer. In pursuit of this, I've pared down the pictures even more - taking out reflections and microphones, isolating Glass' face in each frame, tightening how the light hits his face with some digital assists. (I've even rendered one shot in colour, just to see what it would have looked like if I'd put colour film in my camera.) In the end I consider these more graphics than portraits, but they'll have to do until the (probably slim) chance I get to get Glass to sit down for a real portrait.

[jojoseames]

Supporter reward art! This sweetie asked for JoJo's Choice, so here's a sketch of Ghost Dog! My fantastic local arthouse theater, The Loft Cinema, recently concluded a series of screenings of the films of 1999, and I got to see "Ghost Dog: The Way of the Samurai" in 35mm! What a special treat!

(Patreon.com/JoJoSeames)

[guardian-angle22]

Tagged by @beautifulhigh & @welcometololaland to list my top 5 Tarlos scenes.

This is really going to show my Season 3 bias ngl.

#5. 2.12 "Don't make me twist your arm."/"Please do."

Their chemistry is insane when they're teasing each other downstairs and then they kiss each other so softly once they get upstairs. I'm a sucker for a good soundtrack moment and there's something iconic about having their house literally light up on fire under them while obliviously making out as Fever by Elvis Presley plays in the background. Peak cinema tbh.

#4. 3.04 "Hey, baby. Breathe."/"Welcome home, TK."

We can all agree to have these two can count as one scene, right? they go back to back. The way TK reached for Carlos as soon as he woke up and immediately noticed that Carlos wasn't breathing right even though he just woke up from a coma, is still groggy, and barely has his eyes open? soulmate shit right there. If you haven't watched this without the music. my god. do it now. & then add in how happy they both look as Carlos leads TK into the loft with his hands over his eyes, and then when TK looks around and you can see on his face when he realizes he still gets to have this despite everything? Beautiful.

#3. 3.18 "For the first time in my life, the love that I feel is infinitely more powerful than the fear of losing it."/"A thousand times yes."

I mean can I even say more about the proposal that hasn't already been said? the urgency TK felt that prompted him to wake Carlos up in the middle of the night. His speech to Carlos. All the little touches throughout. The way they both were crying by the end. It was beautiful and it was perfect for them. (the only way it could have been better is if they maybe stopped to turn on a fucking lamp)

#2. 3.08 "Hey, look at me."/"I love you."

This was their first mutual "I love you" shown on screen and while the context was heartbreaking, it was still so so sweet. Carlos being the loving caregiver, kissing TK's forehead, rubbing his knee, wanting to make sure he eats. The way Carlos tells TK to look at him and he does immediately, even though TK has been basically avoiding eye contact with everyone the entire scene will live rent free in mind for all of time, I'm sure.

#1. 3.13 "Do you have any idea how proud of you I am?"/"You're just so sweet."

Can I put the entirety of 3.13 on the list at number one? Because it's my favorite episode for them. It has so many things. It has them being domestic and flirtatious. TK being distracted by Carlos in yoga clothes. It has them fighting a bit, overcoming those obstacles, and communicating. It showed Carlos as a multidimensional character with flaws like jealousy and pettiness, but then growing through it to come to the realization that he can't be everything that TK needs at the end of the day.

But if I absolutely had to pick just one scene from it, I would chose the opening scene. TK sharing with Carlos about his meeting, finding a sponsor, & the realization of not having Gwyn around affecting his mindset. Carlos waiting up with his adorable glasses, reading articles to educate himself, telling TK how proud of him he is. TK calling him sweet and flirting with him. I just-- 🥰🥰

----

Because I'm doing this pretty late in the day, this has made it's rounds through a lot of my mutuals already. so I'm just going to tag a few people that I haven't seen do it yet (no pressure though if you're not feelin' it. but also if you have done it and I missed it let me know so I can read yours!): @morganaspendragonss @ourlegendwillbefitforverse @detective-giggles @noxsoulmate @ladytessa74 @autistic-lesbian-story-lover @tkstrandreyes @pragmatic-optimist @reyescarlos @spencessmile @poledancingghostson @sunshinestrand @mandiiigurllll