rainbow heart. @schemmenti - Tumblr Blog

mrsmckay

big mama 🤤

alliwantismypartnerback

JUST LOOK HOW TINY SHE IS!!!!!!!!!!!

Especially with them ))))

dailydoseofkerryweaver

Daily Dose of Kerry Weaver: Day #37

9.13

#she’s so cute here

memedokies

some creatures i drew a while ago but i dont remember when or what i used. they just sort of appeared i suppose

seedingly

stella-viva

Is it too much to ask to be wanted AND loved?! I’m tired of only being wanted temporarily.

willgrahamscock

THE PITT + Text Posts

spacephobos

fucking love the pitt. they let the autistic girl chill with a dog fo a bit then her boss came in like "fucking love u girl my least troublesome intern wanna pick sooo much gravel out a dudes leg wound?" and she was just like 😀😀😀 incredible. banger autistic rep shes so me.

transjudas

never take for granted the moments when you’re not nauseous

lesleymanville

Laura Innes as Kerry Weaver ER — 9.12 "A Saint in the City"

professorgokester91

I love this use of dramatic, moody lighting in Nancy Meyers' remake of The Parent Trap. Overall, The Parent Trap looks, for lack of a better word, like a "normal" movie. But here, when Natasha Richardson's character sees her ex-husband for the first time in years, Meyers and cinematographer Dean Cundey turn up the theatricality. Richardson's face is kept mostly in shadow except for a single shaft of light cutting across it. It's a beautiful example of how expressive use of lighting can externalize a character’s emotion. The shaft of light isn't naturally realistic, but emotionally realistic. It visualizes the shock and emotional weight of seeing someone, you haven't seen in ages, who once meant everything to you. Love when a movie that more or less adopts the principles of realism allows a little stylization to come through at exactly the right moment. This moment would land with much less force if the whole film was stylized.

I like commenting on the lighting, composition, and staging of mainstream films, especially mainstream films targeted toward women, because they rarely receive the same kind of visual analysis that more traditionally "cinephile" films do.