you're darn bloopin'!

🌿 some Animal Crossing gijinkas!!

oh i love bagworms ! the structures they make are so incredibly diverse and intricate.. and definitely not just twigs! since their protective casings are based entirely on whats around them you can see all kinds of designs, and different species stick to different patterns and shapes

theyve got a really interesting life cycle, too - what youre seeing is a case made by the caterpillar of the bagworm moth, and inside of each case is where the caterpillar lives ( heres a picture of them outside of their little nest) 

they start out as little worm only a few millimetres long and immediately start spinning silk around themselves, attaching any materials nearby to camouflage their bodies. they spend a big chunk of this stage meandering around their host plant, poking their heads out of their homes to eat ( although not all of them are herbivores! )

their home grows as they do, and eventually after theyve reached maximum size, the caterpillar affixes the top of their home to a branch or similar roost. they seal off the entrance and pupate....

and either emerge and winged male, who exists only to find a females case and help the cycle continue, or a female, who stays with her case and waits to be found! not all females are wingless though ( this new zealand one is especially pretty ) 

 since theyre so iconic in japan, they show up as inspiration for creatures in a LOT of different places.....like all these guys !!! all bagworms !!

Academy Award Winners for Best Cinematography: 2020 — Roger Deakins, BSC, ASC 1917 (2019) Directed by Sam Mendes Aspect Ratio: 2.39 : 1

1917 is made with a series of long shots, the longest of which was about 8½ minutes, stitched together. Sam Mendes, who worked with Deakins on 2005’s Jarhead, 2008’s Revolutionary Road and 2012’s Skyfall, says that shots averaged 20 takes, with the most difficult needing as many as 50. The experience of working with such meticulous choreography was “exhilarating,” Deakins says. “Everyone’s high-fiving. All the grips I’ve known for, like, 30 years, saying, ‘Oh, my word, that was something. I’ve never done that before.’ It was really great.”

One tricky sequence featured the pair crossing No Man’s Land, which Mendes says involved “constantly changing the actors’ relationship to the camera so you weren’t simply following them from behind.“ 

Explains Deakins: “When we got on No Man’s Land, it was like, ‘OK, well, how do we work with the actors and choreograph the camera movement with the actors so you see details, and then you go from one character’s close-up to another character?’ And then you see them wide, and then you see what they’re looking at. That was really interesting. That informed a lot about what we were going to do with the rest of the film — how we could free the camera at moments where we needed to.”

It is one night bodyguarding your very best friend in the whole wide world. How hard could it be? I’m not your friend. Oh. Oh, really? Oh, you usually just let strangers rub chamomile onto your lovely bottom?

Bonus: