#our own cinematographers

[wildeinthesun]

the going hasn’t been rough, it’s been catastrophic

weaving in and out of consciousness but never sleep

this used to feel like cruise control 

windows rolled down, that song from last summer, 

the sun in our eyes, my hands on the wheel

my stupid hands on the wheel.

lately it’s all automated driving

some call it a luxury but -

i can’t breathe right, can’t make myself sleep

i don’t know where i’m headed, don’t recognize my surroundings

no hands on the wheel (can’t feel my hands at all - don't know where they are).

despite it all i’m not scared anymore - i’ve done the repenting and it 

never seems to work. 

i don’t think i ever meant a single word anyway.

i’ve accepted a life i never chose - a road i never wanted to be familiar with.

so at least the fear is gone, they say.

so at least the tears stopped, they say.

this blessing in disguise, this way you float through life - it's a good thing. it's enough.

no more crash and burn. no more viscous girl baring teeth snarling mean.

no more running with thieves in the night, roleplaying as a lost boy.

this is how you make it and don't die. you smile and you bear it. (a different kind of bearing it. not one i'm used to. not one i like).

you float through this life; you become ghost still alive.

we're all proud of you, they say.

you'll feel better soon.

this domesticity - you'll get used to it.

it will start to feel like home.

 

little do they know home’s never felt like peace to me. 

home has always been war,

an enduring of this cruel captivity until i can run,

a pawing of feet in the dirt before the charge, girl as bull with horns. 

home is wearing a muzzle while kindling the fire inside,

quietly waiting for the moment it can ignite.

(i watched it all, too.

the way the cage that dulled my flame burned so bright and so very dazzling.

the first time i looked at home and thought mine.

then suddenly it was a pile of ash forgotten - left to haunt the small town that haunted me.

i never said sorry. never will).

so now i’m screaming and it’s grisly, ghastly, feral.

i’m yelling, but can't you see? this isn't me.

the happiness, the passion, the drive, the fucking euphoric light,

they left too. left me not riot grrrrl but shell. left me not lightning strike but ghost still alive.

and what's sadness without the happiness? what's happiness without the sad?

no one blinks an eye. no one hears a thing. 

my mouth - it’s not mine. 

i drown in plain sight and you’re playing a part.

smiling while squinting because your pretend sun is pretend too bright.

if i wasn't wasting away, decaying and ugly, i might've said the scene was captivating,

cinematography dizzying, light, joyous. a fairytale with a yellow-tinteded lens.

so i’m empty. my dogged heart - it’s folding in on itself, 

becoming victim to this hollowness.

but here i am, still 

girl without muzzle, junkyard dog,

never learned how to read a script.

so here i am, ghost still alive,

so i’m holding out.

i’m holding out for the moments not lived

for the light left unswallowed

for the roads that never got to know my burning-rubber heart. 

i’m holding out.

i’ll feed this tiny flame - keep it barely burning until 

i am girl as forest fire again 

or until i am ghost finally dead.

-you can kill the fire but that spark, the spark born in girls not made for muzzles, it won’t die until she does. you can't make a feral thing docile. good luck trying. she'll eat your heart out, raw and bloody. try to extinguish this mess. you'll never read your lines again. cinematography red, grainy, brutish but captivating. cinematography mine.

[fuckyeahgoodomens]

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it��s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

[shadowxamyweek]

An Amy, by any other name, would have to be called, 'Rose.'

Okay. 

A while ago, I got this ask: 

And you know, that’s an interesting question…When did we all decide that Shadow would call Amy, ‘Rose’? Shadow most certainly has never done it in any canon before. Still, we, as a fandom, latched onto the idea and have made it a keystone in just about every shadamy concept we have. Even non-shadamy shippers occasionally have Shadow call Amy, ‘Rose.’

Why? 

Well, I replied to the question basically going, ‘No idea, but it’s a fun concept, right?’ and left it at that. 

@sweetlittlebrie however, took it to the next level. 

They ended up doing some digging on their own, and what they found was excellent! I then reached out, and we kept picking away at this together. It’s been a joy and a delight working on this with them. So, without further ado, here’s what Brie and I were able to find out about Shadow calling Amy ‘Rose,’ and the history of her being referred to as ‘Rose.’ 

2005: Crafted Chaos published ‘Red Roses are the Sweetist.’ This fic, published in August of ‘05, is the oldest fic we came across where ‘Rose’ is used. I specify the month because it came out almost 4 months before ShTH05. Out of all 5 chapters, Shadow only calls Amy ‘Rose,’ once. However, it’s right before he admits to her (and himself) that he loves her. It got pretty decent traction, but this is not, we believe, where the concept really took off. 

I must take a pause here. Despite what anyone’s personal preferences may be, we, as a society, owe porn a great deal. It presents freedom of expression and thought and living in a way that many other works won’t. It goes where others fear to tread. And so, I’d like to take this moment to thank porn and it’s many artists, writers, and cinematographers. 

We’re also pretty sure porn was the venue through which the concept of Shadow calling Amy, ‘Rose’ started to really enter the zeitgeist. 

2008: Shade by the Raven published ‘A Flower Wrapped in Darkness’. This is the first example we were able to find where Shadow calls Amy ‘Rose’ through the entire piece, and it was exceptionally popular! A lot of people tuned in to read and engage with this work, and from here, we do see a bloom (pun intended) of instances in which Shadow calls Amy ‘Rose’ or refers to her in a similar manner. (Heads up, if you want to read it, Amy tries to kill herself in the first chapter.) 

2012: xShadowxRocksx published ‘Without the Mask.’ This is the second most reviewed story for ShadAmy on Fanfic, and, crucially for our purposes, the most popular fic in which Shadow calls Amy ‘Rose’ throughout the work. It’s absolutely a term of endearment, as well as characteristically establishing the difference between the characters. Shadow calling Amy ‘Rose’ is nothing like Sonic calling her ‘Ames.’ They represent two different types of people and two different types of relationships. 

Aaaand here we also have porn. 

2012: Lolly Shane published ‘My Pink Roommate.’ This is a very highly reviewed and well-received fic. Once more, Shadow calls Amy ‘Rose’ through the entire piece. Crucially, it starts as a way to maintain distance, a formality, and then ultimately becomes a name of endearment. This will eventually become a linchpin in many fics where Shadow calls Amy ‘Rose!’ 

I’d like to take this minute to point out an interesting thing I noticed. ‘Without the Mask’ was published May 12th. ‘My Pink Roommate’ was published May 29th. These were literally being written at the same time. They also both were last updated in 2014. It is not out of the realm of possibility that these two writers were aware of each other's work, if not actively participating in the same circle of artists and collaborators. This is probably one of the clearest examples we have of the ripple effect creative ideas can produce when put out into the world for others to enjoy and share with each other. 

And that seems to be where it really took off! From there, the concept of Shadow calling Amy, ‘Rose,’ only grew in popularity. Now, it’s so engrained within the fabric of the shadamy shipping zeitgeist, it’s nigh impossible to imagine it ever having been absent. It is as ubiquitous to the ShadowxAmy ship as ‘Ames’ is to the SonicxAmy ship! 

That’s not all! There are also variations that have spun up across time that lean on the concept of Amy being referred to as, ‘Rose!’ 

Rose used to DESCRIBE Amy, rose girl/rose female/rose hedgehog Rose used as a METAPHORICAL DESCRIPTOR, ‘Amy, like a rose’ / ‘rose of a girl’ / ‘rose petal’ Rose used as JOKE, ‘ladies and roses first’ ‘a rose for a rose’  Rose used in OWNERSHIP, ‘My rose,’ or even ‘My Rose’  Rose used as a LAST NAME, ‘Miss. Rose’ / ‘Dr. Rose’  Rose used BY THE VILLIAN to be threatening, including in ShadAmy enemies-to-lovers fics.  Rose being the name decided by THE WRITER OR AMY (Amy changes her name to Rose for Reasons and anyone then will call Amy ‘Rose’ in this.) 

So this is a summary of everything we found! Hours spent chatting and combing through old works on A03 and FanFic.net have brought us, at last, to here. 

I want to take this moment to point out something else that is amazing. 

The two oldest fics for the ShadAmy ship that we were able to find are as follows:  

2001: Angelwind publishes ‘Shadow of a New Dawn.’ Here, Amy is home, alone, trying to process the events of SA2. She is haunted by the memory of Shadow. Then, out of the dark, he appears. Shadow has come to tell her thank you… and goodbye. Amy convinces him to live, talking him through the night until dawn. In the end, Amy, trying to get Shadow out of his dark thoughts and also get him used to the idea of living, offers to take him on her shopping errands. As they run towards the market, Shadow decides that, now that the Earth is safe, his next mission is to keep Amy Rose safe, and in his own way, he’s happy that he has a choice in making that decision. 

2003: Nara- Mia published ‘Cry.’ Amy finds a Shadow who has survived their fall and finds themselves adrift. They should be dead by now, and they aren’t. Where could they possibly go from here? Amy has no answers, but, as always, she has an immense amount of kindness and hope to share. The piece ends with her offering Shadow a place to stay, and the two setting off together. 

There’s… a lot that goes on when it comes to the representation of these two characters, both on the official side and the fandom side. Even now, as I write this, people are arguing over the characterization of both these beloved hedgehogs. I find though, in reading both of these, a certain delight. Many of the traits ShadAmy fans give to both Amy and Shadow are found here, in these two works. It’s been over a decade since their publications, but frankly, I cannot tell the difference between these and some of the current works being published on A03. 

Funny how some things just keep coming back around. 

As a departing thought, please note- this is just off of what we were able to find. Many people, for many different reasons, delete or have had their work expunged from databases. It is entirely possible there were other examples, maybe even older examples than 2005, where we would have found Shadow using ‘Rose,’ or even Amy just choosing to go by the name, ‘Rose.’ If there were, they are lost to time, and now, it is a truth held only between the writer and the quiet hum of the universe. 

To you out there who make art- you who write and draw and dance and sing and film and edit and make music with your heart on your sleeve- please know your work has value. It makes an impact, it matters, even if you never see how <3 

[yamujiburo]

if you dont mind me asking, how... demanding would you say the storyboarding/animation job is??

I dream of becoming a story boarder myself though perhaps gathering my own group which would be Even harder but. Not only do i have adhd but i crack under pressure and dont draw fast at all

So i was wondering if i could have some words of your experience if your willing to share

I do my best not to scare anyone away from the job but I also don’t wanna be dishonest

I’ll be real with you storyboarding is one of the hardest jobs in the industry rn (varies depending on what show you’re on). I personally find it more taxing than directing. It’s become so much more than “interpret where the characters go from the script and sketch it on a post-it”. You’re a layout artist, cinematographer, writer, comedian, key animator and in some cases a vis dev character designer.

You have to be ready to draw 2-5 minutes worth the boards once a week (by the end of a 5 week rotation you’ve had to draw upwards of 1000 drawings). You also have to be ready for your showrunners/directors to ask you to redo entire sequences with a tight turn around. Then you also have to have amazing draftsmanship and cleanup

One of our board artists just posted their bcg storyboarding reels as an example

Here’s another example! From F&C

It’s a brutal job but it’s also very rewarding and fun. Again I’m not trying to scare anyone away from the job, just being honest about how demanding it can be

[indigovigilance]

Every single minisode is Aziraphale's memory, and why that's [not?] important

There is extensive meta-analysis, my own included, that Before the Beginning is a doctored memory resulting from erasure of Angel!Crowley, and that the trace of him that is left in Aziraphale's memory is the Starmaker, so that this is what we see at the opening of S2. With this foundation of "some scenes are altered memories," we can critically examine the minisodes and see that, in fact, they are ALL Aziraphale's memories that are potentially subject to doctoring.

Evidence (and exploration) below the cut:

A Companion to Owls

The largest part (S2E2 22:10 to 44:00) Book of Job flashback is book-ended by Aziraphale leaning over the physical Book of Job in his bookshop. We enter the memory when Aziraphale enters it, we leave it when he leaves it. Pretty straightforward.

The Ressurrectionists

Similarly, in S2E3, we begin the first flashback to 1827 with Aziraphale's "dear diary" entry. We flash out each time to Aziraphale: in the car to Edinburgh, getting out of the car at the Ressurrectionist Pub, and with Aziraphale staring up at the statue of Gabriel while standing in the graveyard in Edinburgh, respectively for each of the three flashbacks. This all strongly indicates that we've been in his memory.

Nazi Zombie Flesheaters

I didn't even notice until I was doing research for this that basically the entire episode takes place in 1941. From the end of the main title at 5:00 to 37:50, we never come out of the 1941 story. But what is interesting is what bookends this minisode.

Before the main title, Shax has tricked her way into Aziraphale's car and alludes to a time when a rumor started about our ineffable husbands:

Sometime in the last 80 or 90 years I remember hearing that you and Crowley were an item. I didn't believe it then. Not really. Poor old Furfur.

And when we flash back to modern day, we first go to Hell with Shax proposing a full frontal assault on the bookshop, and then we get:

Aziraphale has arrived back in SOHO, and has spent the 8 hour drive reminiscing about what Shax alluded to.

But this part gets even weirder. Because the final line of the episode is:

You're really hosting the meeting? Absolutely! And I can guarantee you: it will be a night to remember!

What this means in context of the 3 memory sequence

This line has been taken by a lot of analysts as a reference to A Night to Remember by Walter Lord, a collection of first person accounts of passengers of the Titanic. Most notably, the thematic ties of this work to the cinematographic design of Good Omens are captured by this quote:

A key to Lord's method is his technique of adopting an unconventional approach to the chronology of the event, "[taking] an imaginative approach to time and space in which hours and minutes prove extremely malleable, the ship itself seems almost infinitely complex, and the disaster assumes order and unity from far away."

Which is an amazing connection, and probably true, in that it was a deliberate reference by the writers. "Malleability of time and space" describes well how this show is put together for us the viewer. But it also illustrates how Aziraphale experiences his relationship with Crowley; skipping over centuries at a time, while dwelling on and protracting intimate moments spent together, create a cohesive whole when viewed from a distance. That whole is their relationship. [Which is about to go down like an unsinkable ship.]

But absent the literary reference, we could even take this line for its literal meaning. Aziraphale is talking about forming new memories, after we have spent the last three episodes living in his memories of times with Crowley that were key to shaping their relationship. This isn't a S1E3-style series of allusions to a furtive, flirtatious, and organically blossoming intimacy; these are rough events where the two are shoved into moral quandaries and forced to make some really difficult decisions that bring them closer together and define "their side." These are core memories, and incredibly precious to Aziraphale. And now, after a few short days in which he has spent a lot of time ruminating on these intense memories, he is embarking upon the task of making another important memory, that is, dancing with Crowley.

Why We Care

Because memories can be altered, all of the information we get from these episodes is subject to a reliable narrator problem. As of the Gabriel trial, we know that memories can be doctored even when the person in question isn't present. Crowley knows that his memories have been removed or altered, and has put painful effort into retrieving them. Aziraphale may not realize that he has suffered the same fate. These memories that he holds so dear might not even be true.

Memory, Identity, and the Relevance of Fidelity

We would probably expect to get some "corrections" to these memories in S3, to see exactly what kind of manipulations our heroes suffered and what that reveals about the motivations of the perpetrators. That's how a paranormal mystery story with a memory manipulation element would normally proceed.

But it will be even more significant if we don't; it would speak to a philosophy-of-self that you are not the product of your objective past, but of what you remember, and so we don't get to know what actually happened because it doesn't matter to informing us about who Aziraphale is.

Aziraphale's love for Crowley springs from what he remembers about their shared past; it doesn't necessarily matter that the memories aren't true, because the love is.

~~~

I realize that I kinda buried the lead, so if you reblog, please tag appropriately? I'm taking suggestions.

If you want to read more on this topic, this meta by @ineffable-suffering is a good place to go.

[sgiandubh]

Lights, camera, shit show

I was just cleaning my OL folders (all those Chinese paintings and scrolls do take a horrendous amount of space, heh) and I just stumbled upon something I completely forgot to share and discuss with you. I found this particular article during my solitaire lurking months and I remember being befuddled by it for a long time, then thought I've lost it for good.

I don't remember ever seeing it shared or discussed in here, either and if, by any slim chance, I am wrong, kindly forgive me. That professional website is now closed, but its content is still available to browse:

Anyway, there goes: https://www.studiodaily.com/2018/06/outlander-dp-stephen-mcnutt-asc-csc-saucy-scottish-show/

We discussed Terry Dresbach and her inebriated rants, Vanessa Woman's devastating impact on set as Intimacy Coordinator, RDM's jealousy and many other aspects of life on the OL set. Rumors likely to have originated there peppered our shipping trail like flickering lights in a sea of darkness. So yes, we dissected these things to death. But not Stephen McNutt's interview to Studio Daily, on June 22, 2018 - please keep in mind the date, it is essential!

Stephen McNutt is a well-established professional and a member of the American Society of Cinematographers (ASC) and the Canadian Society of Cinematographers (CSC), as he hails from British Columbia. He also has a consistent track record of previous work with RDM, both on Battlestar Galactica and Caprica (its prequel). Therefore, one has to immediately suppose he was handpicked and brought on set by the same RDM, of course: set a very low bar on your expectations, I am warning you.

By the grace of RDM, he was one of the main Directors of Photography for OL during Seasons Two and Three. IMDb is not the best source for corroborating things, because they credit him with 13 episodes in Season Two (including La Dame Blanche- he is the Blue Room guy!), but only one for Season Three (First Wife), which is completely wrong. I even had to check some opening credits on Netflix (at reduced speed, ugh), because he speaks at length of A. Malcolm, something that would have made little sense otherwise. He was there, of course: and his is a first-hand account, heavily loaded with both innuendo and TPTB bullshit, up to the point of complete incoherence.

We focus on the three final questions:

This is a study in bullshitology, right here. The question asked is very clear and very technical: how did you approach those famous love scenes?

The answer is a mumble jumble of retcon, deflections, slips and overall impossible scramble for a logical explanation. I am doing a line by line, because this is almost too good to be true:

'(...) But as far as Cat and Sammy making love (...)' : um, hello and excuse me, I thought the question was about Jamie and Claire?!? And then we are delusional and can't fucking separate, when your own henchman, the Director of Photography no less, seems to be totally unable to do so, too? Hello? Also: 'Sammy'? 'Sammy'? What. The. Total. Fuck, and I LOLed then and I am still LOLing now. Terms of endearment overheard on set - but no, here comes the 'friendship' shite, hitting the narrative fan with Mach 5 speed. Objective? Explaining in a plausible way the hugging and 'keeping warm'. And I am sorry, but this begs the question: what the hell did this man see on that set? And how many people did see the same, hence the need to release such a gratuitous lie, for pure retconning purposes?

'They are not an item at all - I think she just got married'. Oh, fuck my life, man: you are such a terrible, terrible liar! Remember, that interview was taken in June 2018: after the OZ EFH and just about when C. was gleefully answering 'oh, God forbid!' every time she was prompted by press about her marriage plans. How can somebody with a pretty high trophic level and personal rapport to both S and C be totally unaware about C's marital status at the time? How can a long time acquaintance and coworker of RDM say no both to a friend and to a current boss (same person, the worst case scenario) asking for a favor, in that particular context? It also goes to prove that the shit show plot mainlines never originated with S and C and that the Remarkable Week-end was already planned for quite some time. By TPTB. With the full knowledge of RDM.

Let's suppose Mr. McNutt was so deeply engrossed in his work as not to notice all the people who must have congratulated C on set. I mean, I know who our (spinster) colleague from Accounting is currently banging and that guy is (mercifully) not among our staff (I totally wish them well, btw). Maybe because nobody congratulated C on that fakegagement? Also, you know them well enough to confidently say 'they are not an item', but don't know she was not married at the time and state an enormity with the same confidence? What in the name of the hoo-ha did I just read, here?

'I was always in such amazement of that.' In amazement of exactly what, Mr. McNutt? Surely not a woman holding hands or keeping warm with her gay co-star on set, huh? I mean, I need the best American English dictionary, here:

Again: what the heck did this man see? What comments did he hear? Surely, 'amazement' is a very precise choice of wording, with particularly enlightening synonyms:

Hence the need to end the demonstration with a deflection: 'They would just have fun.' You know, there is no such thing as a virgin whore, Mr. McNutt: you either are in such astonishment or you think your pals, good old S and C, such a funny girl, were having, well... 'fun', what else? You can't logically have both in the same paragraph!

And there we go: 'a very collegial atmosphere on set'. The answer is pure fool's gold, if you ask me: 'Nobody goes to sit in a trailer or says they aren’t showing up that day. '

And I laughed. And I laughed. And I laughed. I really don't know what this man is talking about. I never heard McTavish telling S to get out of that trailer ('nephew'). I never read the 'two very loved-up birdies' in a trailer a-rockin' Anons. I never watched that 2015 Anglophile SDCC interview, when S mentioned listening in their shared trailer to Erasure's Oh, l'Amour and C immediately reacted ('oh, did you just admit to that?'). But unlike me, McNutt must have been legally bound by a big cojones Non-Disclosure Agreement and morally bound by loyalty towards RDM, his friend, boss and benefactor.

This. All of the above. This is the real reason for all the bullshit you've just read: explaining a real, shocking love story by socially progressive regulations, allowing the cast to be 'much more happy'. I would laugh some more, if this was not sinister and cruel, in fact.

It is Love. A deep, strong one. But the seeds of the adverse narrative were planted early and deep, forcing even decent people like this guy to lie and smear himself a bit in the process. What we see and hear now are but better worded and more refined consequences of that fateful January 2016 morning in LA. And since I am allowed the dubious luxury only a healthy distance in time allows, let me remind you a simple, fun fact about this interview who stated they were never an item:

About ten months after McNutt uttered these words, the fandom was hit by the Covfefe Pics.

I rest my case.

[alizalayne]

THE BETRAYAL OF SAINT JOAN OF ARC, A MUSIC VIDEO AND SCULPTURE with @hpheisler

For the Carroll County Art Council's 17th Annual PEEPshow, a community sculpture exhibit featuring marshmallow peeps from our very own Bethlehem, PA.

"it is better to be alone with God. His friendship will not fail me, nor His counsel, nor His love. in His strength, i will dare and dare and dare until i die."

- joan of arc

director - aliza layne

costume designer - aliza layne

pyrotechnician - aliza layne

editor - h. p. heisler

cinematographer - h. p. heisler

composer - h. p. heisler

featured vocalist - megpoid GUMI for synthesizer V

if you like, you may vote for her

[rwrbmovie]

BTS of #RWRBMovie: V&A

Via Amazon:

NG: I think their time together at the Victoria and Albert Museum really sticks out to me as a defining moment of their relationship. My character, Henry, really shares the last frontier of his vulnerabilities and really opens Pandora's box in a way saying plainly to Alex, ‘This is my life. I'm terrified, but I'm willing to take this risk.’

From EW:

For Galitzine, who grew up going to the museum, it was a surreal experience. "I was born and raised in London and the V&A is an iconic place to visit — the galleries, the displays, exhibitions that have been on there. To be able to witness it in such a quiet state was really bizarre. Night shoots are disorienting at the best of times. It's 5:00 in the morning, you're trying to act and be emotional, and you're in this truly beautiful, picturesque setting. It was really cool to be able to explore it. It felt a bit like Night in the Museum. It was a weird, surreal but extremely enjoyable experience."

Director Matthew López didn't know for much of the pre-production process whether the V&A would even allow them to film there. "They were very, very protective as you could imagine," he tells EW. " Especially when we told them where we wanted to shoot, which is a lot of things we could break, and I really didn't want to be the guy who ended up breaking a priceless piece of statuary. But we ended up getting permission, and that was amazing." In McQuiston's novel, this key scene takes place in the Renaissance Gallery, which López and cinematographer Stephen Goldblatt visited while scouting in London. But while we still see Henry and Alex run through that gallery, they decided to choose another due to the V&A's filming parameters. "It's not the most photogenic gallery," explains López. "It's kind of dark and it's very, very big, so there's a lot of blank space between the statues. The chances that you're going to get just a white wall behind you are good. And it's very hard to shoot in there because the rule that the V&A had for us was that we couldn't bring in any exterior lighting. We could not bring it in our own lights." But Goldblatt had an idea to work around that limitation. "He led me to this area of the museum where we did end up filming it," the director continues. "That long, beautiful corridor with all those gorgeous statues filled with very homoerotic art, as well as that narrow alleyway of busts. We came back another night after closing, and he had them turn off everything, all the lights except for the spotlights that were there, illuminating the artwork. But turning off the floodlights that lit the gallery for people to walk around in. What you had in an instant was darkness everywhere and light shining on the art." Goldblatt manipulated the light further with a dimmer switch, creating an almost sacred environment in which Henry and Alex could express their love for each other. "We did not bring in any of our own lighting," emphasizes López. "That scene is shot with the lighting that's available to us at the V&A. We decided that the scene would be the boys for the most part in shadow and the statues illuminated. It was a beautiful use of a problem to create a better solution that you could not have come up with on your own if you had no problem."

From Glamour:

“My absolutely favorite scene to film was the night we shot inside the Victoria and Albert Museum,” says López of the scene depicted here. “We arrived at 10 p.m. and filmed until sunrise. To have access to that museum at night without any other people around made you feel what Henry and Alex must have been feeling the night they go there together. What made it so special is that, for one of the first times in the shoot, it was just me, Taylor, and Nick working. No other actors, no background players. It’s a magical scene in the book, and it was a magical night for all of us.” 

From HELLO:

In the film, as in the book, the pair dance together here as they vow to make their relationship work, come what may. This scene is also Matthew's favorite scene, "because it's the only scene in the film that is actually filmed at the location that it's set".  "That night was very beautiful and I think it's reflected in what you see on screen; there's a magic to that place at night and I like to think we captured it," he adds.

From NYT:

The two men under the dimmed lights were the actors Taylor Zakhar Perez and Nicholas Galitzine, and they swayed until the director, Matthew López, called “Cut!” around 2 a.m. for a lunch break. “It was just the three of us and our crew,” said López, who’s also the film’s co-writer. “It made for an incredibly intimate, really special night.”

From W Magazine:

There’s a sweet moment in the Victoria and Albert Museum. Why did you shoot in that sculptural exhibition? That’s not the gallery from the book. I went there with Stephen Goldblatt, my director of photography, and it wasn’t very cinematic. Stephen took me to another part of the museum, where we shot, with lower ceilings a more contained space with beautiful statues: David and Goliath, three women, the corridor of busts and torsos—very cinematic.

[mindmeltonabun-blog]

My Demon: Inspiration or Plagiarism?

Guardian Goblin...Guardian Mountain God...Guardian Demon

In the latest drama, "My Demon," we're introduced to a guardian demon. However, as I delved into the series, a sense of déjà vu crept in. Was this guardian demon truly distinct, or did he bear striking similarities to others we've seen before?

Questions about plagiarism first emerged when Gu Won's death scene in "My Demon" closely resembled that of Kim Shin's death scene in "Goblin". Many dismissed the notion that the writer had plagiarized the scene, citing the cinematographer had worked on both "Goblin" and "My Demon".

However, I believe the issue of plagiarism extended beyond cinematography; from the characterization of the male lead to the overall concepts, "My Demon" seemed almost identical to well-known fantasy kdramas, echoing themes, lines, and scenes from its predecessors. The writer, Choi Ah Il, appeared to borrow extensively from existing works, crossing the line between inspiration and outright plagiarism.

Gu Won, the guardian demon, was a mishmash of characters from various supernatural dramas. His personality, appearance, and even punishment seemed like something taken right out of "Goblin", "Tale of the Nine-Tailed", and "Doom at Your Service." Beyond his Thanos-like finger snap and cross tattoo, there was very little that made him unique.

For a writer who criticized goblins, nail-tailed foxes, grim reapers, and vampires, Choi Ah Il failed to differentiate her demon. Gu Won could've been a distinctive supernatural character with his own unique backstory or even a different style, but instead, he felt like a Frankenstein creation of well-established supernatural creatures. Ultimately, I was left to wonder if the writer or even Gu Won himself knew who he really was.

In my field, we constantly aim to create innovative and original ideas. Therefore, I understand the fear that can come with breaking new ground. For Choi Ah Il's first fantasy drama, the fear of her original ideas not being good enough might have led her to heavily rely on existing works.

My advice to Choi Ah Il is to have more confidence in both herself and her ideas. When we put our entire heart and soul into our work, our sincerity and passion will shine through, making them more likely to be appreciated by others. We should embrace all of our "crazy" ideas instead of plagiarizing others' work. Even if our idea doesn't work out, at least we know we gave it our all. And this, to me, is infinitely more fulfilling than imitating others.

So in conclusion, "My Demon" had the potential to be a great fantasy drama, but it seemed to copy too much from others' works. Whether it's an issue of inspiration or outright plagiarism, the drama left me wondering what ideas truly belonged to Choi Ah Il. As viewers, we deserve to experience a writer's unique voice, not a patchwork of borrowed elements hastily stitched together. Going forward, I'll probably give this writer one more chance to improve her scriptwriting. I must add that if it weren't for the great cast and their impeccable acting and adlibs, this drama would've been doomed due to its messy plot and lack of true originality.

Below are some scenes and concepts from other shows and movies that are nearly identical to the ones in "My Demon". I'll let you decide for yourself if you think the writer of "My Demon" was inspired by other's works or simply plagiarized them.

(Note: I might add more later, but it's a lot of work to go through each show and screenshot everything and then compile them in a collage)

p.s. I'll post my review, thoughts, and analysis for Eps 15-16 in a few days!

Goblin The Great and Lonely God

Hooded supernatural

2. Objects that represent the end of a human's journey...clocks instead of tea cups

3. The mother has complications with her daughter's birth and is saved by a supernatural being

4. In the past, the FL dies, ML kills a bunch of people, and ML ends his life. ML has memories of his past sins erased. As punishment, ML is turned into a grim reaper character.

Others:

The quote Madam Ju said in Ep 3 about plants and seeds was similar to the one said by Ji Tak in "Goblin": Humans have four lives. A life of planting seeds, a life of watering seeds, a life of harvesting, and a life of using the harvests.

The ML's had blamed God for all the obstacles in their lives and when they finally got a chance to talk to God, God told them they didn't have all the anwers to their questions and that they didn't know everything similar to God in MD.

The FL dies at the peak of her happiness similar to how in MD, the FL's parents died at the peak of her happiness.

The FL in "Goblin" was the key to ending the ML's life as an immortal just like how in MD, the FL was the key to making the ML human.

Tale of the Nine Tailed

Supernatural ML has an obsession with desserts

2. FL died in the past to save the ML

3. FL's parents is involved in a car accident on FL's birthday (9th birthday in TOTNT and 10th birthday in MD)

4. Wishes Granted By The Devils

5. Wishes and Exploiting Other's Misfortunes to Survive

6. FL wears object and remembers tragic past life

7. Personal Hell is being in a world without the FL

8. Working for the Divine as Their Best Performer

9. Mother-like Figure is a Goddess

10. Wearing Two Wedding Rings

Others:

In "Tale of the Nine Tailed," The Almighty granted Nine-Tailed Foxes or Gumihos various powers, but they were bound by one rule: they must fulfill their end of the deal/contract with humans or face death. This rule aimed to prevent Gumihos from murdering humankind. Similarly, in "My Demon," Gu Won faced a similar fate. If he didn't make deals with humans, he would die. Additionally, if Gu Won murdered humans, he would also face death. In both cases, rules and contracts were established to prevent supernatural beings endowed with god-like powers from killing humans.

The concept of wanting to live or die together in TOTNT was also present in MD

In TOTNT, the FL tried to protect the ML, but ended up dying. In the present, the ML made it a mission to protect the FL to prevent the same tragic fate from happening. ML ended up saving the FL in present but died in the process...and then ML came back to life just like in MD.

ML in TOTNT came back to life/was reincarnated as a mortal human with Gumiho powers similar to how after Gu Won came back to life, he was a human with demon powers.

Twilight

Supernatural leaves human because they hates their monstrous nature

2. Supernatural watches their human sleep

3. Human is kidnapped to draw out supernatural ML

4. Human gets a leg injury during kidnapping

Others:

Gu Won played "Clair de lune" just like Edward did in Twilight

Doom At Your Service

Listening to others' wishes and meeting a wisher that would change their fate

2. Beginning of a new journey filled with hand-holding, bubbles, and water

3. Necessaity of holding hands/wrist to recharge

4. Creating a dream of the FL's deepest desire

5. Celebrating a supernatural's birthday

Others:

One of the major themes in DAYS was choices just like in MD

Hotel Del Luna

Fireflies by the lake

Others:

FL's name was Man Wol (means "Full Moon") in HDL and FL's name in MD was Wol Sim (means "Moon Heart")

[lokiiied]

my thoughts on the making of loki s2:

• “our approach was really doubling down on who loki cares about, who we care about.” and then having season 2 centre around loki & mobius’ relationship, how he cares for his friends, and sylvie’s independence & what she wants/fought for like okay cool got it.

• “tom is the author of all things loki” he really, truly is. bless him.

• ke huy quan must be protected at all costs the world does not deserve him

• loml rafael casal 💞💅🏻

• “mobius can be eccentric, because loki is eccentric, he just is. but they don’t see themselves that way. they’re the straight man (???) in this absurd world.” 🤨🧐 kevin…you were going somewhere and then you lost me.

• “this is her first chance to experiment with freedom, with choice.” (about sylvie). and her choosing a simple life, with the comfort of routine and connecting with a few particular humans and just appreciating life. the little things. with no romantic motivations that we see. big aspec energy.

and then replaying the scenes where she says “my life’s here now” and “your friends are where they belong. we’re all writing our own stories” like. yeah. just reiterating how important this life she’s built is to her and she has no interest in going back. she appreciates loki & mobius and the others in helping her to keep/save free will - but aside from that, she’d be fine never seeing them again. because if she did - it would probably mean trouble. fighting again. running again. and she’s already spent her whole life fighting and running. she’s tired. of course she was upset they kept seeking her out, cuz she thought she was done. that she fixed everything that mattered. even though she didn’t. but now she gets to live. and be sylvie. “not a loki” and to figure out who that is.

• 700 PAGE BOOK??!!? isaac bauman, the cinematographer. wrote a 700 PAGE “cinematography bible” of the entire visual language of the show. down to the smallest lights. the pure tism dedication. this is what i’m talking about when i say everything is intentional. every shot. the lighting. the tone. every time someone writes an analysis about these themes in this show - just one page of this mans work is appreciated. i never want to hear anyone talking shit about “reading too much” into cinematography. i have isaac bauman’s loki cinematography bible on my side.

• wunmi is so funny and warm i love her energy

• TOM “HELPING” OWEN UP THE STAIRS. 🫴🏻dead.

• christopher townsend sounds EXACTLY like an older tom holland it’s tripping me up

• “what is it mobius says…” tom says and then recites the line word for word. as if loki wasn’t thinking of that line while sacrificing himself. as if mobius’ words weren’t echoing over him in the final shot of the show. he’s so funny.

• speaking of…owen only talked for like 5 minutes what?? probably started rambling about mobius’ gay feelings for loki and they cut it :/ seriously though did they just not ask him questions?? his presence felt weirdly lacking.

• tom hiddleston everyone. our lord and saviour

[lcdrarry]

LCDrarry 2024 Round-Up Post | Week 2

On Sundays during our posting period, we won't post a new work, instead you have time to catch up with the works that posted during the week and hopefully leave lovely comments for our creators.

Happy reading, commenting and sharing! ;)

~Your LCDrarry Mods

PS: Please have a look at the author notes and tags on AO3 for additional information. Thank you!

PPS: Please share far and wide! Thank you!!

***

Podfic

***

"As You Wish" by Pineau_noir

Prompt: "The Princess Bride", 1987, Rob Reiner Written by: Pineau_noir Narrated by: Anonymous Podfic Length: 02:31:28 Rating: Teen and up Warnings: None

Summary: Draco was raised on a farm in the small country of Witshire; his favourite pastimes were flying on his broom and tormenting the hired farm boy. Though his name was Harry, Draco never called him that. On Harry's forehead there was a scar shaped like a lightning bolt, so Draco called him Scarhead.

Nothing gave Draco as much pleasure as ordering Harry around.

Or a story about fencing, fighting, torture, revenge, giants, monsters, chases, escapes, True Love, and miracles.

Listen to it now on AO3.

***

Fic

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first, she fell

Prompt: "Anatomy of a Fall", 2023, Justine Triet Prompted by: @wolfpants Author: Anonymous Word Count: 1,648 words Rating: Mature Warnings: angst, referenced character death, open ending, referenced adultery, speculated murder

Summary: Harry's wife is dead. No one knows quite what that means.

Read it now on AO3.

***

Caribou Garden

Prompt: Nature Documentaries (genre, any year) Prompted by: @meandminniemcg Author: Anonymous Word Count: 2,641 words Rating: Teen and up Warnings: None

Summary: Alone with his swotty, posh, nemesis-turned-colleague on an uninhabited island in the far north, cinematographer Harry Potter grapples with his inconvenient crush. A nature documentary-inspired fic with magical caribou migrations, dramatic landscapes, and only one tent.

Read it now on AO3.

***

Twin Blades

Prompt: “Star Wars: Episode III - Revenge of the Sith”, 2005, George Lucas Author: Anonymous Word Count: 3,525 words Rating: Teen and up Warnings: lightsaber combat, nightmares

Summary: Harry advances a few steps toward Draco, who doesn’t move, only watches him approach with narrowed eyes. “If you’re so sure the Jedi have no power, duel me. If you win, your master will be proud of you.” Draco’s eyes glitter. “And if you win?” “We’ll find out, won’t we?” Harry raises his lightsaber, readies himself. “Come on.” Without another word, Draco lunges at him.

Or, a Drarry-flavored reskin of the battle on Mustafar.

Read it now on AO3.

***

Slipping through my fingers all the time

Prompt: "Mamma Mia", 2008, Phyllida Lloyd Prompted by: @Azulaschild Author: Anonymous Word Count: 11,378 words Rating: Teen and Up Warnings: sex while on drugs, drinking

Summary: Recently-divorced Harry returns to Serenity Commune, site of his wildest youthful romps and the beginning of his recovery from trauma, to get out of a rut (and because Hermione made him). Unfortunately, sex, drugs, and dancing aren't all that await - he'll have to confront his past and what life might have been.

Read it now on AO3.

***

Leap Year

Prompt: "Leap Year", 2010, Anand Tucker Prompted by: @DrarryMyHeart Author: Anonymous Word Count: 29,064 words Rating: Mature Warnings: None apply.

Summary: Draco Malfoy has come a long way. He has a successful business and a muggle-born high-flyer boyfriend.

One tiny thing - it's been four years and he has no ring. No matter, he'll take things into his own hands. Feb 29th is an Irish muggle tradition that he'll happily jump on. Archie (boyfriend) is in Ireland - he'll simply portkey over and pop the question.

One (LARGE) problem. The portkey office messed up and he's landed outside Harry Potter's pub.

The same Harry Potter that hasn't been seen for ten years.

*Big sigh.

Read it now on AO3.

***

Runaway Groom

Prompt: "Runaway Bride," 1999, Garry Marshall Prompted by: @elskanellis Author: Anonymous Word Count: 30,044 words Rating: Teen and up Warnings: Arranged marriage (not between Harry and Draco), Infidelity if you squint (not between Harry and Draco)

Summary: OK, so Draco's feeling so nervous about his upcoming wedding to his fiancée Astoria Greengrass that he could faint. That's one of the pitfalls of an arranged marriage, right? Just because he's run out of his past three weddings, doesn't mean this one won't go ahead. He just has to keep his eyes on the finishing line, and ignore the sudden reappearance of Harry Potter, who seems to be determined to turn his world upside down. Again.

Read it now on AO3.

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Hope Is A Thing With Feathers

Prompt: "Thelma and Louise", 1991, Ridley Scott Author: Anonymous Word Count: 33,335 words Rating: Explicit Warnings: Creator chose not to use Archive Warnings

Summary: Harry is disillusioned with the Aurors, his relationship with Ginny, and is tired of all the hero worship but feels trapped. Draco, still hated by the Wizarding world, decides to get away and shares his plan with Harry, his only friend. Harry jumps at the chance to go with him.

They share in the freedom of their adventure, but things don’t go according to plan. Amidst their misfortunes, they discover new talents, courage in the face of tragedy, and above all, love.

Read it now on AO3.

***

Romancing the Dragon

Prompt: "Romancing the Stone", 1984, Robert Zemeckis Prompted by: Anonymous Author: Anonymous Word Count: 34,382 words Rating: Explicit Warnings: Action movie typical violence

Summary: Harry Potter writes romance novels from the comfort of his London townhouse, with the assistance of his beloved cat, Juliet. He does not engage in rescue missions, talk to dragons, or develop feelings for Draco Malfoy. That would be absurd.

Read it now on AO3.

***

Please help promote the fest by sharing your favourite submissions, so more people can enjoy all the amazing new Drarry works of LCDrarry. Thank you!

Creator reveals are on 15 June.

[kisilinramblings]

After the Wish - Adrien's side

Hi, everyone! Are you ready for some scene analysis? Like the title says, this post will focus on Adrien's scenes following the Wish.

Before I start though, I am very well aware the ending bring a lot of very passionnated and very opinated minds. This is why I am asking to please keep an open mind and keep things civil. I won't tolerate any bashing or rude comments. Both on this post and in my inbox. Keep in mind this analysis in my own interpretation of the shots and scenes based on my cinematographic knowledge as well as my viewing experience and memory of the 5 seasons of Miraculous.

I am sharing this analysis because I love the show and because analysing helps me better understand what I see.

Also, this is a leak free analysis. I only analyze and make conclusions based on what it is shown to us on-screen.

So, if you are ok with staying respectful and open to see the episode through my lens, you are more than welcome to continue reading.

Without further ado, let's go!

After the whole universe was engulfed by the light of Gabriel's Wish, the white screen fade to a close up of Adrien sleeping. Marinette's head then block the shot temporarily before Adrien awaken, smiling. We can guess she kissed him.

This shot personally reminds me of the fairy tales in which the knight kisses the princess to awake her from her curse. And it isn't coincidental if the very first image we see after Gabriel made the Wish is Adrien. There is meaning in that. In fact, I want to point out the shot choice itself because I find it unusual.

We are facing a tight close up facing directly Adrien while he is sleeping and then awakes. Normally, we are more used to a medium shot which allow to see the character is lying down and frame both characters. The camera is also normally placed on the side and not directly facing one particular character. Again in order to see both actors at the same time. Think of Disney Snow White or Sleeping Beauty for example.

And even in more modern ones.

You know which other character in the show who had their eyes closed, often shown in a frontal angle and who we were anticipating to wake up? Émilie.

Except this isn't Émilie who awakes, but Adrien.

Not only this tight close up gives a lot of importance and relevance to him, but Adrien is so in our face that it feels like nothing around him mattered, not even the kiss Adrien received. What matters is Adrien. Solely him. And Adrien is smiling.

Then the camera starts to expand little to little to unveil Adrien's "new world". In cinema, we are quite used to start a scene is with help of wide shot before cuting to closer shots. Here, it is the other way around. Which confers a sense of mystery to the scene.

The first thing Adrien sees is Marinette, the girl he is in love with, at his side, bathed by the summer sunlight. The light choice hints we got a time ellipse between this moment and the previous scene.

As Adrien rises up we see their friends having fun in what we guess is the Agreste Mansion Garden.

The artists are painting a mural inspired by Delacroix's famous painting Liberty Leading the People where the characters are remplaced by La Résistance members and led by Ms Bustier depicted as Liberty herself. She is leading the youth to freedom, to a better future.

The rest of the class and their allies are playing in the pool or chilling together.

This series of shots show us the Agreste Mansion garden flourishing with life. In the background, the flowers are all in full bloom, the plants cover most of the gray stones of the mansion, garnishing those with vibrant green tones. On-screen people laughing and having fun.

Hawkmoth (Party Crasher) : I don't feel any negative emotions. There's only... Joy? What is going on in my house?!

This series of shots shows how we are at the opposite at how life used to be for Adrien. His friends can come over and party with him. We see members of both his family and found family. Adrien isn't trapped inside his home-prison anymore. He isn't isolated anymore. He is surrounded by people who love and care about him. And Gabriel is absent from the picture.

Like Bug Noire said earlier during this episode, Adrien already had all of that before the Wish. Adrien went to school and made friends on his own. He wanted to have a birthday party at his home (Bubbler). He wanted to hang and have fun with his friends on multiple occasions. But Gabriel was always the biggest obstacle for Adrien to have those moments, those memories.

It is Gabriel who kept his son isolated. Because Gabriel was living in the past and was unable to move on with life while Adrien decided he wanted more in life than being stuck inside a cocoon. And at the end of Revolution, Adrien knew what he wanted :

Adrien : Father, please, I know what I want. Let me live my life here in Paris with Marinette and my friends. Gabriel : You must go through with this like an Agreste. That's what your mother would have wanted. Adrien : No, I'm sure that Mom would have just wanted me to be happy.

And, in the end, Adrien's wish is fulfilled.

One last sidenote before I continue concerns that one shot.

Despite not being in the center of the shot, Nathalie seems to be doing better than the last time we saw her. She has a least more colors and has gained her red streak of hair back. Her pose however seems... limited. Maybe her body is still weak from the illness afflicting her. Maybe it is due to budget constraint. Or maybe it is both. And remember what Bug Noire said to Gabriel at the end of their fight : she estimated Nathalie had only a few hours left. And we are weeks from now. Either Bug Noire was wrong in her prognostic or Nathalie survived.

Émilie : Adrien will be well surrounded. He'll have you Nathalie, and he'll have his father, if Gabriel agrees to give up on his madness... and on me. Adrien will have all the love he needs to be happy.

Anyway, the group pauses their activities to watch a new show called "Monde Nouveau" (litteraly "New World") and hosted by Alec.

Alec as we know, has changed to become an icon about being yourself and making your dream come true. And him being the host of that new show instead of a character like Nadja, means that we are looking at an happy and positive vision of things.

He interviews Caline Bustier, now both Mayor of Paris and mother of a girl named Harmonie. She shares her program for a better future to us, the audience.

As she talks about her eco-rules, we see sketches supporting her vision. At the bottom right, we recognize the Tsurugi company logo, but next to it there is a new one we haven't seen before.

Next, we see an unveiling of the statue of Gabriel Agreste, which confirms that Gabriel has died. His statue is made of recycled Alliances put out of commission after Monarch's last attack.

Gabriel's statue is his entire height. Gabriel was already a tall character when he was living and his statue is even taller than him. His chin is up, proud. It is almost like he is superior, looking up like that. The camera slight low angle also contributes to this impression I have. Also, he holds a pencil like the designer he is.

Tomoe : Beyond the visionary entrepreneur and the genius creator, it's the hero we celebrate today.

This is how the Parisians in-universe see him. They are unaware of Gabriel's secret identity. They are unaware of the truth. They only know of the image the professional him gave away and they believed he died in an attempt to stop Monarch.

I want to point out the fact Gabriel's statue is made of Alliances. The very tool he uses to try and defeat Ladybug and Chat Noir. He turned Adrien and Kagami's image into avatar for this product against their will to sell both the Alliances and an illusion. He deformed the truth with their avatars by presenting them as a couple (Revelation), or make deepfakes out of them (Representation and Conformation). Now, Gabriel's statue, his image, is made of the very same tool he used. And the Alliances, despite being put out of commission, still contribute to blur the line of what is truth and what is false in regards of his character to the masses.

With this statue made of Alliances, the parisians are honoring the "perfect" and "pure" image they have of Gabriel. I cannot help but think that this huge statue is bound to create great shadows. And even if the real Gabriel is gone, something of him remains and will continue to have an impact.

Tomoe then talks about continuing Gabriel's legacy. To us, the audience, those words have an ominous double meaning as Tomoe was Gabriel's ally until the end and helped him in many of his schemes. And she confirms she will continue that work.

Caline then gets to talk about her new school model which pleases very much everybody as they cheer all together. It will allows Marinette, Adrien and all their friends to remain together while allowing them to explore and grow in the field that please them respectfully.

Then we cut the the sun setting as the cheers are fading away. It is the end of the day and everyone has gone home.

Adrien is now alone in the garden where his mother's statue used to be. White butterflies are flying around. Marinette joins him as he is fidgeting with his parents' twin ring.

Marinette : You are not wearing it? Adrien : When Ladybug gave it to me, she told me how my father helped her defeat Monarch. At the risk of his life.

With this, we know that Ladybug granted Gabriel's dying wish.

Gabriel : Marinette. Make sure that Adrien never knows about the villain that I was, but instead, that he remembers the times I tried to be a good father.

Was it Marinette's place to accept that burden to cover the truth? To acquiesce to her archenemy's demand? Of course not, but that is how kind she is and how flawed she can be. For Adrien's happiness, Maribug is willing to do so. We, as the audience, know it can only last so long the secret is sealed. And no one among Gabriel, Marinette, Nathalie, Félix, Kagami nor Plagg is aware the secret was already breached outside the family circle.

But for the time being, everyone who knows will keep the fact that Gabriel was Monarch a secret.

But even without the truth, Adrien is conflicted about his feelings towards his father. We see that as Adrien answers Marinette's question, he leans a bit towards her, but there is no contact. His eyes are fixated on the ring. Adrien is distant and inside a bubble of doubt about himself. There is a weight, a legacy, he associates with that family ring that he is not sure if he can bear.

Adrien : I don't know if I'll ever manage to be like him.

It is only when Marinette puts her hands on his, covering the ring and the expectations that come with it, that Adrien finally look at her, brought back to here and now. Marinette reassures Adrien he doesn't need to be like his father. Adrien can just be himself, without having to live up to any expectations placed upon him.

Marinette then proceeds in slips the ring on his finger. Adrien is free and in control of who he wants to be, of what he wants to do, no matter his background. The past doesn't matter anymore. He can just focus on what is ahead of him.

In this short shot reverse shot, we see a bit of Marinette's head in Adrien's shot, however in Marinette's reverse shot, she is framed alone.

This bit has of a shift in the discussion. Marinette made contact with Adrien, entering his "bubble". She has established a connection in their discussion. Her words are reaching him and moving him.

Adrien : You always find the right words, Marinette. When I'm with you, I feel so... free!

And now they are in synch. Both say "I love you" to the other at the same time, which make them laugh. And Adrien wraps Marinette's hand as if he never wants to let her go. As if he will protect and cherish her with all his might. She makes him that happy.

As the white butterflies illustrate, there is no negative emotions around. Only pure hapiness. Only love. And they are kissing where Émilie's statue used to be.

Émilie's message in Collusion : Adrien shouldn't have to suffer the consequences of our mistakes. Our little prince has the right to create his own vision of happiness.

In other words, Monarch did not win. Émilie won. Gabriel has used the Wish, yes, but his wish was different than the one he wanted to make for 5 seasons. And it is not unusual for Gabriel to do everything in his power to grant any of Émilie's wishes. And her final wishes were : for Gabriel to let go of his madness, to not bring her back, and for Adrien to be happy.

And the ghost of Émilie can now rest in peace and stop haunting these walls. And Adrien can fully love Marinette the way he wants without any obstacle in the way anymore.

And all points to the Power of Love has ultimately won. Even the most important characters in those scene all have a link related to love.

Adrien was created by love. Ms Bustier promotes love as one of her teachings and she was akumatized twice out of that very emotion (spread love, protect the children's future). And she got elected as Mayor. Alec who interviews Ms Bustier is also another character who is now full of love and care. And Marinette fought for love. Even the Agreste Mansion Garden is associated to love. Gabriel and Émilie got a scene there during Evolution. Marinette and Adrien got a romantic date there as well. Heck, this is even where Nathalie shares she was ready to help Gabriel out of love.

Love may falter or even fades away for a time, but right now, in Adrien's scenes, love is fully blooming.

Back to the scene, as Marinette and Adrien kiss, the camera zoom out at the shot crossfades, giving the impression their kiss is everlasting. And ultimately fades to white...

... before the white suddenly cut to Nadja Chamack's news report where she interviews Professor Du Bocquale about the international event that had happened.

Using both the news reporter and the scientific, we transitioned to Marinette's Guardian of the Miraculous pov. The sentimentality and dream life is over, it is time to get back to the facts and reality. The Happy Ever After is not quite accomplish yet.

And that will be developped in second eventual part because I am reaching the limit of images allowed in one single Tumblr post ^^;

Anyway, thank you for reading this far and stay tuned!

[three-fulm-thaumaturd]

Dawn? Trailed.

Finished Dawntrail MSQ tonight. Assorted scattershot (and spoiler-heavy) thoughts under the RM.

-I came to DT without much preexisting hype or emotional investment. All I wanted out of this expansion was to have a break from being the main character who has to save the multiverse from extinction, again, and to have some cool scenery to look at and some banger music, and we sure got that!

-There are a lot of things about how this expansion was written that didn't effortlessly or instinctively emotionally appeal to me in specific, but that are, when I think about them, really good, solid workmanlike choices re: how to construct a video game narrative.

-I know J-media tournament arcs are “well worn” in the same sense that the Grand Canyon or the Marianas Trench are, but they provide a plausible pretext for the things that MMOs are set up to do. Better than a host of supposedly highly-realized and virtuous precursor beings insisting that we repeatedly justify our existence by fighting, for sure.

-Being Wuk Lamat's mentor/emotional support Eorzean/800 pound gorilla was an interesting conceit. I think the writers carried off "non-protagonist PC" fairly well, and I've played other games where that was tried and didn't work (lookin at you SWtOR, re: KotFE). Lamat'yi feels like a more competently-written version of Stormblood-era Lyse. She's got both a core personality that remains consistent and a trajectory of increasing competence and maturity. I think she's well constructed as a protag/viewpoint character: she's primed to like things and people, her ethos of addressing conflict by seeking understanding and consensus is a good pretext to deliver exposition, and she feels/empathizes intensely but doesn't get stuck on her own emotional reactions. I wouldn’t say I effortlessly enjoy her as a character, especially early on when the writing leans hard into her immaturity and desperation to be liked and to prove herself, but I understand and respect what that’s for. It’s no different than Naruto or early-OT Luke Skywalker.

-I like the variety of Central/South American cultural inspo (Aztec, Quechua, Yucatec Maya, Pueblo, etc), we got in the setting and culture for this xpac, and the conception of Tural as a very racially/culturally heterogeneous place where power comes from the aggregate of a complicated network of relationships that have to be negotiated on an ongoing basis. It's not zero-sum, and finding solutions that benefit everyone is hard but worthwhile.

-I was excited to be able to bring Krile, my favorite Scion, along this time. I feel like the ShB/EW A-team had enough presence to appeal to people who like them and not so much that they upstaged the new characters or the change of scenery.

-I think there was effort to add cinematographic interest to the many, dense cutscenes other than wide-angle shot/reverse-shot over paragraphs of text. Some of the camera angles (switching between the faces of my minimum-height lalafell and 2m+ Wuk Lamat) and long shots of characters' expressions resulted in...sometimes-intentional uncanniness and unintentional comedy. This probably was not the devs' intention (their intention was probably a performance with emotional subtlety that the graphics overhaul alas still doesn't permit), but my instinctive read was that it felt like unnecessary padding/stalling for time.

-Re: other stuff that felt like it unnecessarily lengthened the playtime and the amount of text to read, sometimes I resent that it feels like I'm being not just spoon-fed, but bottle-fed plot and character beats that are not complicated or hard to understand. Then I see people evincing failure to comprehend what they're reading elsewhere on the internet and understand why it's done that way. :\

-There's basically one trademark Ishikawa conflict: Local man driven to extremes by inability/unwillingness to come to terms with loss, aging, and death. There's also one trademark Ishikawa sin that characterizes all of the ShB-and-after antagonists: a delusional insistence on harming the living to feed the dead. Those come up so consistently that her style is instantly recognizable...and I wonder some about what she's experienced or how she's doing.

-The hairpin turn in the plot about 2/3 of the way in and the by-now very familiar tropes aren't my narrative jam at all, but it was engaging enough to mostly keep my attention until the end. I'm beyond weary of Ascians/Ancients and shard math, so I'm glad those things were referenced (and there's some interesting stuff to chew on re: Lalafell history in particular) but not focal.

-I'm a little mad, because my pre-Heritage-Found speculation that El Dorado was going to turn out to actually be an aetherologic Superfund site (which would explain the security, the giants charging in and coming back dead, sick, or unable to reproduce, the teratogenic effects on eg Blessed Siblings etc and the fight for control of it as a putative military asset) seemed to have a lot of fun possibilities. I guess you could argue that Living Memory might be a very abstracted nod in that direction.

-*Queen Sphene*? Really, you couldn’t have named her anything at all else???

-I'm not at all satisfied that "he felt overshadowed by his father's accomplishments and wanted to prove his worth independent of his unusual heritage" is sufficient justification for how Zoraal Ja was, especially prior to his first contact with Alexandria. I figured based on his behavior and Krile's remarks, that he had to be Tempered, or affected by an equivalent kind of magical compulsion.

-The final trial, and to a lesser extent the last dungeon are an unmitigated (and unmitigatable until mods become available again) accessibility nightmare if you're photosensitive or prone to motion sickness. I hoped the devs would take the feedback they got from the ShB alliance raid series under consideration but they sure didn't give a shit. Guess I'm not doing roulettes for a while.

[myrtlefics]

LCDrarry Fic Claim: Caribou Garden

Alone with his swotty, posh, nemesis-turned-colleague on an uninhabited island in the far north, cinematographer Harry Potter grapples with his inconvenient crush. A nature documentary-inspired fic with magical caribou migrations, dramatic landscapes, and only one tent.

Rating: T

Words: 2,651

Read here on AO3! https://archiveofourown.org/collections/LCDrarry2024/works/55264465

This was such a fun and lovely fest, as always, and full of incredible works! Thanks for reading, and thanks to @lcdrarry for your brilliant modding 💙

[respectthepetty]

I love director Tee and cinematographer Jim. I'm getting them in Hidden Agenda, and now I Feel You Linger in the Air. Look at Jom imprisoned in his own emotions. LOOK AT THIS.

And the stars hanging from all the booths with barriers between him and all the merchants. Look. at. it!

I just love this filming pair so much, so let's hop into Jom and the Terrible, Horrible, No Good, Very Bad Day.

This show already has me scared.

This boss is a jerk, but insert a Titanic joke.

NO! Don't zoom in on the creepy shit! I don't wanna fuck with los espookys. Just give me my historical romance, damn it!

And now shit is falling apart right in front of our historical romance salad.

TWO YEARS?!

Men really ain't shit.

And she's smoking while pregnant!

Now an attempted sexual assault!

How quickly this turned into an episode of Club Friday Vice Versa.

I like Ming; therefore, I think he will do something out of desperation that he is going to regret because he is too poor to contour.

This thief is cute. Hopefully he is the "be gay, do crime" kind of guy, and not the "gonna ruin everyone's life" type.

A plumeria represents beauty and new beginnings, while the jasmine represents good luck, beauty, and love. This man is making a garland.

Men look so good in pastels. They could be a 6, but when they put on a pastel, they are a 9. This plant daddy was already a 10, so . . .

GET OUT OF THE WATER!

I didn't mute this episode because everything was pleasing to my ears, so the second episode will get the unmute treatment as well. It's Director Tee who always partners with cinematographer Jim, so the visuals are great as usual, and I don't just mean the men who are beautiful but the actual scenes were lovely.

I was already excited, but next week we have sensual wrist touching!

The next three months are going to be Obsession Autumn because I'm not letting one of these shows go. They are all mine, and I'm going to have to start liking the taste of coffee, so I can operate off of an unhealthy lack of sleep.

No Regrets.

[selpide]

a long, confusing, existential introduction

i have noticed there's a proportion of us humans who seem to have a tendency to look for the essence of things

an obsession, some would say

(some would be right)

minimalism, others will state

(other will be wrong)

(there's nothing small about this search)

i am a number of this proportion, you see

everything i do, i try to undress it to the bones

find the skeleton

trace the carcass

what's the closest i can get to one truth before it burns my skin alive?

that's where i like it

that's where i live

a nomad in the borderland of skulls

there's some holy serenity in being able to go the distance

that distance

i went that distance yesterday

i have trouble putting into words what i do

and what i do is who i am

so i spend an unhealthy (what is healthy anyways?) amount of time in this so-called minimalist search for the most precise arrangement of letters to make other people understand what my ego claims as hers

i am a writer

that is without a doubt

the first thing i have ever been

the last thing i will ever be

let's set aside the clearness and focus on the blurry lines

i am a singer

(i make songs)

am i a singer?

i am a cinematographer

(i am an audiovisual communication graduate)

am i a cinematographer?

do i deserve to claim myself as part of these guilds, these collectives, these ideas, these concepts, these communities, these archetypes, these

words

do i deserve to be called by any of these perfect words?

when you are called by your name

even if you know you are not your name

(you are not some letters nor their sound

you are flesh and blood and bones and maybe, if we are all lucky, a soul

however

when this name is called upon)

you answer

as if you were synonyms

as if meaning and symbol became lost within each other until becoming one and the same

so when someone says

"writer"

and i turn my head

when i jump at the sound

when my brain has already done the job — and i cannot escape my fate — the fate my brain has woven for myself — when someone calls for a writer and i raise my hand

do meaning and symbol get mixed up just the same?

this is where it got heavy for me

do i deserve to claim the same name as every single person who came before me, and whom i admire, and whom i respect, and whom i couldn't dare to offend (them nor the rest of the world) by suggesting we may belong to a somewhat similar category?

but then again

names

words

why should anyone be worthy of a title? surnames are given. they come to us by birth. like it or not, they're part of our identity — they give information on who we are — be it by acceptance or denial — be it by proximity or self-made walls — opposite or mirror — we don't need to deserve our surnames. they are us and we are them.

am i a singer?

yes

am i a cinematographer?

yes

i first was a songwriter — a writer of songs. then i discovered i could sing them. badly. but they were sung. less badly. and they kept on being sung. less less badly. and then i discovered i could put my own music into them. i once met kim yerim on the streets of madrid. i handed her a piece of paper with the lyrics of my song written on them. and she spoke these words: "so you are a producer? you are a composer?". and it was a conversation, and she was looking at me in the eyes, and so i answered. i said: "yes". and it was as simple as that. because it is true. i produce songs. i compose songs.

i am a producer.

sunghyuk said i already am a producer.

and it is as simple as that.

so i write songs. and i sing them. and i produce them. and that's all too long to fit a social media bio, isn't it?

so what am i?

a music maker

i am a music maker

i first was a scriptwriter — a writer of scripts. then i discovered writing scripts was too boring for me. there is only so much you can control about a story with a script. movies have so much more to them. movies move. so i started editing videos. turns out i have an eye for that. rhythm. that's all it is, really. i have an inner metronome. i can sense patterns. i can repeat them. i am a little clock pedaling backwards and onwards and to whichever direction has the beat that pulses the brightest. but you can't edit a blank screen — you need images. and there is only so much you can control about a story when images aren't yours. so i got myself a camera. a little green sony point and shoot, y2k excellency, all digital grain and untreated saturation and pixelated zoom. then another camera. a little red sony handycam that, as i write this, is on the cabinet under the tv of this apartment in the middle of another continent that i moved to three months ago

(i got this camera when i was 14)

(i think it might be my favorite camera)

then another one

then another one

then you know how it goes

i became a videographer

but these cameras could take pictures too, right?

pictures are so beautiful

i became a photographer

this kind of motion got be so obsessed i could not picture myself doing anything in this life that didn't rely on its cadence

so i got into college and i majored in film

(it's not film)

(you can't major in film in spain)

(not in university)

(so i got into audiovisual communication)

(you can major in audiovisual communication in spain)

(in university)

(i specialized in film)

(i wrote a film script as my final degree thesis)

(i ended up working as a scriptwriter)

(i am, as of today, a scripwriter)

(i miss my red sony handicam)

(i miss the colors)

i miss the motion

i direct my own music videos

i keep a record of my own life

i can't escape live photographs nor still movement

there's so many information in there

how can you shorten that up for a social media bio?

a filmmaker?

but does that sum up everything?

i don't think so

so what am i?

an image maker

i am an image maker

let's get back to words

because i am a writer

that's the only one i savor between my teeth

every letter is mine to say, mine to keep, mine to pray, mine for me

a writer

but what does a writer do?

letters are the smallest piece of a writer's craft

but we are not letter makers

same happens with words

we work with them

we don't create them

(not all the time)

(not as a summary of our duty and routine)

(words are not the word)

it's sentences

i guess that's it

that's just how minimalist it can get

so what am i?

a sentence maker

i am a sentence maker

i am a music, image and sentence maker

but what is music?

what are images?

what are sentences?

art

i am an artist

yes,

but

but

(always a but)

aren't they all languages?

i am a translator

aren't they all symbols?

i am a speaker of metaphors

aren't they all unexplainable ?

i am a magician

aren't they all but a beautiful attempt to capture, to portray, to preserve, to understand, to celebrate, to blame, to share

life

itself?

i am a life curator

(it's funny

i have a song about this

i scrambled some of its lyrics around

i love clues and riddles and the silly breadcrumbs some humans leave for others to find in hopes of making their everyday a little more adventurous

i hope someone someday finds this funny

i hope someone someday

thinks of this

as an adventure)

this is me

sélpide

life curator, writer and magician

welcome to the museum

i hope you find yourself inside here