Today we dive deep into this famous oner from SOY CUBA (I AM CUBA): its technical prowess, its emotional impact, and what very recent modern shot is an equivalent (though using very different techniques).

#TheBear 4.09 “Tonnato” mostly backgrounds the season's clocks, while also showing other ways of making time, such as the date scrawled on the bottom of an old family photo. See next week's roundup [link in bio] for a more detailed rundown of the way this episode marks time!

At the gates of heaven arguing with St Peter about the correct colour grading on my memories of childhood

Yet another reason we should never, ever give over captioning to GAI: we wouldn’t get delightful moments like this explanation of “various cries of intrigue” as a needle-tipped-see-saw quivers near a balloon in episode 14.01 “The Chassis, the Wings”.

. Taskmaster and its caption writers know what is up!

Happy birthday to Peter Weir (August 21, 1944 - present). "Don't give too much respect to equipment, just concentrate on the idea of the scene, the mood, and the camera placement will then follow. I'm always looking, that's why sets to me are alive with ideas and possibilities.

The Servant (1963 dir. Joseph Losey) (Cinematography by Douglas Slocombe)

Today we break down how #GIlmoreGirls shoots its classic dinner table scenes . . . and why they make those choices, too. buff.ly/AV7ts2A

If you know what classic episode I'm referring to with "They Shoot #GilmoreGirls, Don't They" unfortunately this is NOT about that particular top TV hour of all time but I still think it's p fun