zombeesknees:

#this entire scene is a fucking masterpiece  #the building tension in Barbossa’s cabin  #the strings in the score rising ominously  #and then the entire movie turns on a /dime/  #‘oh okay’  #I remember thinking  #‘fucking GHOST PIRATES’  #it drops from historical swashbuckler to fantasy swashbuckler in one set piece  #in which the rules for how the crew work are given to you purely in visuals  #and you get to see that sharp difference between horror-horror and fun horror  #because this scene genuinely terrifies Elizabeth  #and delights /you/  #instead of being awful for both of you  #god
it’s just so neatly done and raises the stakes for the film and puts
everything into context and adds depth to the characters 
#and comes as a complete surprise  #this is all the things you want in a set piece  #we should all aspire to storytelling so economical  #(incidentally so should THE SEQUELS  #christ)  (via wizzard890)

pumpernickelandcoal:

avatar-dacia:

crispy-ghee:

juliedillon:

This is an illustration I did for the August 2014 issue of Popular Science Magazine. The assignment was to show a scifi take on human aging in the future. I wanted to do something relatively positive, so I drew a lady whose life has been been prolonged through cybernetic enhancements and augmentation, so she gets to spend time with her great-great-great-great grandchildren. 

Thanks to AD Michelle Mruk!

this is beautiful

So I keep wanting to reblog Cyborg Matriarch here, but I keep losing track of her.

She’s not getting away this time.

I really want a sci-fi story to go with this.