Kate Beckett ‘Grabbing’ Progression : Nose → Ear → Crotch
Hawaii-based photographer Christy Lee Rogers specializes in creating dreamlike photos of people underwater. Her project Reckless Unbound shows people swirling around one another while wearing colorful outfits. The photos are reminiscent of the paintings of old Baroque masters, who would often paint people floating around in heavenly realms.
Rogers creates her photos in swimming pools at night. The scenes are illuminated with bright off-camera lights, and the shoots often last two to four hours each.
Christy Lee Rogers reshapes the boundaries between contemporary photography and painting, with her series Reckless Unbound. While provoking the audience with vivacious movements and purpose, she also stirs the viewer’s memories of baroque painter Pieter Paul Rubens and his Massacre of the Innocents.
Without the use of post-production manipulation, Rogers’ works are made in-camera, on the spot, in water and at night. She applies her technique to bodies submerged in water during tropical nights in Hawaii. Through a fragile process of experimentation, she builds elaborate scenes of coalesced colours and entangled bodies that exalt the human character as one of vigour and warmth, while also capturing the beauty and vulnerability of the tragic experience that is the human condition.
“You’re wasting your time, Detective. You have no idea what you’re up against. […] You woke The Dragon. And this is so much bigger than you realize. […] This is my spot, Kate. This is where I stand.”
The thing about this scene I think that was so chilling - aside from the music and the amazing editing - was that Beckett looks totally resolved. She’s not angry. She’s not anxious. She’s not scared. She’s just there. And she’s determined. This scene was brilliantly acted, brilliantly shot, brilliantly scored and brilliantly edited. It was haunting.
It was like the climactic moment in a trilogy of action movies or something. The rest of Hollywood needs to take note. Very, very few TV shows create a cinematic production every week and even less of them pull it off flawlessly.
- Ryan: Even better. The shop has security cameras. It's him
- Esposito: I love you
- *they kiss*
- Stana: *squeals* YOU GUYS DID IT!! HAHAHAAA
“Beckett… that’s enough.”
She listened to him. I think that’s a huge thing, the fact that she didn’t just ignore him, and actually backed off.
4.09 // 4.23
I just LOVE that he kisses her there. That’s the most intimate thing about that whole scene.
“I just want you to know how much I…”
“…I just want you.
“The whole season of tension and problems solved in 5 lines of dialogue”. (x)
1) Castle: Beckett what do you want?
2) Beckett: You.
3) Beckett: I’m so sorry, Castle. I’m so sorry. So sorry.
4) Castle: What happened?
5) Beckett: He got away and I didn’t care. I almost died, and all I could think about was you. I just want you.
And that’s it! 5 lines and not the whole season, but four years of sexual tension and problems just pouffed out!That’s it guys!
I don’t know about the rest of you. But this was one of the best moments of the episode to me. When Kate looks into Ryans eyes and realizes that Castle isn’t there. The face that you see here is so raw and so real. He’s not around when she’s in trouble anymore. She’s broken that.
In that moment so close to death, she convinces herself to hang on just that half a second longer for him. And the hope that he’s there, coming for her, is her strength. But when she’s pulled up and there’s no Castle, that’s the turning point. That’s when she realizes that she wasn’t trying to climb back up for her mother’s murder and the man that was her lead, she was trying to climb back up for him.
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