ok, I'm going backwards with your TNA, but I've been so sporadic, it just happens that way. (Nothing like getting it all wrong, lol!) But each of your installments has so much to offer, it makes up for the backwards order...

Ok, FIRST of all, I've read all your TNA pieces as they went up, but unfortunately I don't remember all the details right now. But what's really wild is that I just commented on the NEXT installment, so now I can comment on what led up to it. (I treat it as a "flashback".)

First thing that strikes me is that the next one is a symphony in dark-light, anticipation, and drama. This one is bathed in light, and is much more about the comradery of the women before the mission, and---well, your uncanny ability to compose shots of a complexity that would make my freakin' head spin. How you arrange these in 3D, I have no clue. I mean, ok: You start with a focused 1st frame: Lilla's the focus, and she's getting to the heart of the search: boom. We've got the setup. Then you create real contrast between her striking blacks and that luminous green in the screen---which, btw, is really cool. You really composed this scene well too---I mean her head is in line with the pole, and the screen is on angle with the wall...it's got musical movement. I don't think this is "by accident": It may not be conscious, but that doesn't mean it doesn't come from deep inside you. I've seen enough of your work to know you got composition in your cells.

Then (2), the 1st group 'shot': Just choosing outfits with real variation between them would take me tons of time, but you achieved it as you always do. And it's great to see them all circled around lilla, a gathering of comrades zeroing in on her discovery. (It's got flow!) Then the 3d and 4th frames---bled over by the inset (left side): Man, this is complex stuff! I mean you have the woman bending over the table---on two sides---you have kinnie waving in the other direction, you have the women coming into the room (another vector of people), and we see front, side and back of the women along with the crossing dialogue---you've visualized the confluence of the moment. Then (a director!) an overhead shot, looking down on the women---with lilla peeking in from behind (nice touch!), and a sense of looking-in on them as they plan. And your usual panache with outfit, hue, posture, all of it. (Man, these women have better clothes on a tuesday afternoon than I do for a wedding! Not too freakin' shabby, R!) We're also drawn into the complexity of your screens---the stuff the women are pouring over. I can't help but think of 2001, and how dazzled we were when we first saw all those computer screens in the 'background' of that film: You do terrific suggestive screens. They're not just background.

Then finally, the final shot (can you believe i keep calling these "shots"? it's cinema), with some women facing us, others with their backs facing us, and G4 jutting right into our space---lots of counterpoint here...and Ar has her hand out, and you know what it reminds me of? Ok, I can't help it: The Last Supper! How 'bout that for a comparison! Not that these women will die, or the Romans are out to kill them, or that this is gonna get into the New Testament, but that there's a feeling of final messages before a big event. (The Last Supper painting has jesus with his left hand turned up like Ar's---I just couldn't help but think of that...she's got that inviting gesture!) And Kinnie always adds an amazing accent with her hair. In the meantime, you set up the next installment---with a lot of light to boot. Smashing installment, Rod. Really complex work!

As for your talking politics here---you did service for several years, you come from a military family, you've worked for years with real devotion, and you spread a lot of light: You have all the right in the world to state your opinions...I've never seen you do it disrespectfully. Being a public forum, you're gonna get some hurt feelings---it's unavoidable. But I think the majority of your fans feel lifted by your political statements, because you speak eloquently for them. As for those who disagree, if they do it with equal respect, that's fine. The others---well, that's life. You've earned the right, and I'm very grateful for all you've said. And it ain't over yet. Those trumpsters, omg...

I'll be back for more whenever I'm here. (I've got a lot to catch up on! If I don't comment on 4 or 5 of your images at a time, it's only because I write a freakin' NOVEL for one, lol. As Jackie Gleason said, "I've got a biggggggggggg mouth...") Stay safe and well Sir R. The world needs you.

LOL - Dude... 😲😆 You DID write a novel here! And I deeply appreciate every word!

It's sooooo encouraging to see the depth of your explorations of each frame - I've said it before... You see stuff in my art that I don't even see - or didn't realize I was doing it until your amazing observation pointed it out. And it does have an effect on making my work better. I feel like you and a couple others actually take the time to LOOK at my humble efforts instead of just tapping a quick "excellent" or "Good job" comment and moving on. It makes it worth all the effort. It means so much, Mark! You rock, sir! 👍👍