#I'm so in love with the costume design

[kandelia-mangrove]

Can we talk about how in the show Lestat and Armand are framed as narrative foils. Armand and Lestat who are both so aggressively theater kids, but Lestat who acts, who draws in the attention and holds it, and Armand who directs, who shapes and manipulates the narrative. Armand and Lestat's obsession with Louis and his love and frustration with his melancholy over Lestat and Claudia respectively. Who both felt second in his heart. Who fear loneliness above all else. Lestat taking what he wants to excess - no impulse control, and Armand letting things happen to him and trying to manipulate situations to get what he wants but never taking it. Armand, who even in the end, so much more powerful, never physically imposes himself on Louis. Armand who seeks complete control in subtle insidious ways. Lestat who seeks control in the physical. Armand and Lestat brought into vampire life in horrifying ways tangled up with SA. Armand who still talks about his maker with reverence, Lestat who hates his maker. Armand who pours all of himself into his partner, willing to shape himself into what they desire but ultimately needing control to feel safe. Lestat who pours all of his love into his partner but unwilling to change himself and ultimately cedes control in moments to maintain the relationship. Armand who clings to his breaking apart relationship for 77 YEARs, Lestat who let Louis go. Lestat and Armand who watch Claudia die, but one as a father and one as a murderer. Lestat and Armand so intense in their love but Lestat so painfully external and Armand so painfully internal as characters. Both constantly acting and putting on a face. Lestat as Mozart and Armand as Salieri (in the flashback scene!). Armand who loves routine and structure and repetion, Lestat who craves change and excitement. The calling cards are echos, who learned from who. Armand teaching Lestat the vampire gifts, Lestat teaching Armand a new way to live. on and on....

[spirk-trek]

really love that for the metron design they went with "androgynous angel dressed head to toe in glitter"

[sysig]

For Requestober, Req.1

Scri dressed as an angel, Edgar dressed as a demon. It would be fun to see the roles swaped regarding costumes!

Day 3 - Angel and Devil('s Advocate)

[catinfroghat]

The Succession fandom is going to be a total warzone once it's canonically revealed that Greg is from LA and not Canada like everyone thought

[bowtiepastabitch]

Let's talk costuming: Avaunt!

So I think we can all agree that Aziraphale looks his most traditionally angelic in the Job minisode, no? In fact, all of the angels' costuming increases in drama for this particular episode. This is, obviously, a very deliberate choice on the part of wardrobe, so let's discuss.

On a technical level, the biggest thing that stands out to me about this fabulous robe is the draping. Oh, the draping. It feels like a classic angel 'fit because on a very fundamental level, it is. A lot of what we think of as angelic draws on Renaissance artists' depictions, with flowing robes, fluffy wings, and glimmering halos. In art from this era, there is a strong attention to detail on the natural flow of fabrics that makes Renaissance sculpture so breathtaking, such as here: (The Ecstasy of St. Teresa, Bernini, 17th century CE)

It's this ability to make solid marble look like fine silk rippling with movement that leaves such a strong impression in my mind when I look at these kinds of works.

In painting, too, there is a similar effect. Something about the material culture of the Renaissance really lent itself to this style, perhaps fueled by the rise in new textile luxuries that occurred in vaguely the same period. This is seen especially strongly for angels, such as in the sculpture above, and in this painting: (The Annunciation to the Virgin, Botticelli, 15th century CE)

There's a stark contrast between the dress of the two figures. The virgin Mary is no less ornamentally or expensively dressed, but her style is rather minimalistic next to the angel's voluminous robing. It paints a very clear impression of angelic dress, and the designers for Good Omens would have been aware, in at least a small way, of the art history precedence for such a thing.

The poof of the sleeves, the tucks down the front, the little belt with the train tucked in, the gathers, the weight of the fabric, everything about this robe is constructed to carefully recreate the rather fantastical imagery of renaissance art. It's not necessarily an easy texture to nail down, given that the artists themselves had no concerns of gravity, comfort, or the way it would look in actual 3d motion, while our brave costumers were dealing with all three as well as a budget, time constraints, and the constant consideration that white fabric just gets dirty so easy.

Here's some of the other angels as well, so you can see how theirs reflect those same dramatic themes.

And then, of course, when costuming a show you have a second question: What does this mean for our character? Or rather, we know how, but WHY did they make him look so traditionally angelic?

Well, thematically, the Job minisode centers around Aziraphale's struggle with being a good angel and Crowley's struggle with being a good demon. Aziraphale is learning how to be an angel that follows along with heaven as far as we can, and he's so terribly torn up about it. He spends a lot of his time fretting about doing what's expected demanded of him, even if perhaps he doesn't believe it to be the right choice. Natural, then, that he should look the part of the perfect angel whilst sorting out these ethereal woes.

Crowley even draws attention to it himself, giggling a bit at the suggestion that Aziraphale, with his fluffy hair and flowing angelic garb, could possibly become a demon. And it is a rather silly mental image; the garment itself would be comically silly in really ANY other context at all. In the same manner, his performance of angelic archetype borders on excessive:

He's trying so desperately hard here to be the angel he wants to and is supposed to be. He's dressed the part, he's using his big scary angel voice, but deep down he's clinging to an identity that doesn't quite fit.

(You'll notice in this shot the distinct difference between his and Crowley's dress on the level of silhouette as well as color. We see this a lot from the two of them, but with the points I made above it felt worth pointing out in this particular scene)

Here at the end, as he's coming to terms with the cracks in his heaven-given identity, his robe is largely in shadow, blurring out its startling whiteness. We do not see him dressed this way again. (He continues to wear white, obviously, but from here on out his style of dress mimics the human trends of the time rather than that classical angelic imagery)

[saessenach]

yennefer doodles because i cannot contain my anger

EDIT | finished piece here

[ansonmountdaily]

Captain Pike's Starfleet coat in Strange New Worlds 2x02 "Ad Astra Per Aspera"

"For Pike's travelling look, we went with a trench style leather coat with no insignia so he could blend in with the Illyrians. Lightly broken down for a "lived in" look." - Bernadette Croft, Strange New Worlds costume designer

Illustration by Strange New Worlds concept artist Christian Cordella.

[wwaddless]

thinking about the two (professional) versions of rent that i watched and how one had Angel stay in her normal attire after her death and how the other put her in a suit.

like?? the symbolism of her being buried in a suit, because of course she would've been the 80s/90s were incredibly homophobic no drag queen being buried near a church would've been allowed to be in drag. or her favorite dress/skirt/outfit. she would've been placed in a suit because she's a man and there would be nothing anyone could do about it without potentially outing themselves and being put in danger (even if they are just an ally).

so, if she's buried in a suit no wonder she would appear in the suit as a ghost/angel/whatever she was haha. those are the clothes she's resting in so those are the ones she appears in forever, even if she doesn't like it. it's a reflection of how uncaring the 80s/90s were to queer people going through the AIDS crisis. nobody cared if they died because they were just those fucking queers

on the opposite side of that, appearing in her normal attire would be closer to how people who loved her remember her. they wouldn't remember angel wearing a suit, because that wasn't her preferred attire. that wasn't who she was and despite the rest of the world hating her for merely existing as herself, the ones who loved her and knew her refused to see her in a light she was forceable put in.

it also goes to show how even if they buried her in a suit, taking away her identity, nobody could really change her. angel was herself through and through regardless of how much the world wanted to change her. she died because of her identity but they still couldn't rip it from her dead hands.

anyways thinking about rent. sorry for the ramble-y post i just cannot stop thinking about it lol

[chalkrub]

ode to the drowned rat. who’s hiding under there??

[cloudsrust]

Tfw you have to crawl out of artblock and fatigue because your new fave doesn't have enough content (I have to feed the fixation on my own.)

[justletmeramble1701]

The only design detail from the upcoming Superman movie (that we know about) that I can't figure out the reason for is the main Superman logo. Why a gold Kingdom Come logo?

What we know about the film so far is that this is supposed to be a more "traditional" Superman story about Clark reconciling his Kryptonian heritage and his human upbringing. With that in mind, I can easily find plot reasoning for most of the design.

The bright colors, trunks, and shield on the back: traditional Superman and possible connection to Earth.

The space/tech lines, armor sections, high collar, and uniform-esque structure: Kryptonian military uniform.

I can easily bullshit justifications for most of the design, except the logo. In Kingdom Come, Superman wears a strange, black and red logo to show his mourning. Specifically, to show that there is still hope in death (though, it may actually be a symbol of revenge or war, but I'll explain later). If you've seen the Arrowverse crossover Crisis On Infinite Earths, you already know this. This explanation is obviously not what this film is doing. This is a young Superman, still coming to terms with his origins, so he's not mourning the loss of everyone close to him. This is why the logo is gold and not black, but why keep the rest of it? I see three, probably obvious explanations.

The first explanation is that the new film or series takes thematic or narrative elements from the comic. In Kingdom Come, Superman retires after the Joker attacks the Daily Planet, killing Lois and the rest of his supporting cast, and the public celebrates a violent vigilante killing him. After these new generation of vigilantes cause the destruction of Smallville (it might have been the entire state of Kansas, which is kind of funny, but I read this book at my local library years ago, so I'm choosing the less extreme option), he comes out of retirement with a new Justice League to reestablish the tradition notion of heroism, though Batman believes Superman is simply looking for revenge. We know that in the new film, a strange version of, what appears to be, the JLI that may be funded by Maxwell Lord is in this film and we know that an authority film is coming, so maybe this new Superman will be introducing, what we would call, a more traditional form of heroism to this already established universe. It would certainly be an interesting, bold statement to make after the last decade of "subversive" takes on Superman.

It could be because this shield is harder to read than the traditional one. If the movie is about tackling Kal-El, the Kryptonian, vs Clark, the human, and this is still the symbol of the House of El, then maybe this symbol was picked because it looks less like an "s", making it feel more alien. Maybe it is a symbol of Krypton in Earth colors.

Or maybe, just maybe, they just liked the Kingdom Come logo. Maybe they wanted to set this Superman apart from other versions and pick a logo from the comics that they liked. Superman and Lois is using the traditional logo, My Adventures with Superman is using something similar to the electric logo, and the DCEU used a variant of the 40's logo, so they looked at what was left and chose their favorite. It wouldn't be the first time they used a logo for no reason (why the fuck did the DCEU Superman use the 40's logo).

Who knows, I'm probably wrong. I just know that I'm currently mixed on the suit overall and trying to sort out my feelings on it. What ya think?

[hellogoodbyeitsme]

Zoro and Luffy live action said Zolu truthers aren't wrong and I said thanks

[icewindandboringhorror]

I have a big google doc thing where I keep track of media and stuff (putting everything in loosely ranked categories), which is mostly just for my own reference so I know what tv shows I've already seen before, etc. and I never really look back through it, typically just a quick "okay, watched two movie in the past 8 months, need to quickly slap them somewhere in the lists. okay. done. save document. exit". But today I was actually reading through some of the old notes and there are like... MULTIPLE places where my comment is basically "It would have been good if it were about elves" or "I wish there was a fantasy show made in this same style" or "It's well made, but I just keep thinking about how I would like it more if everyone was an elf or was in old 1700s costumes" or etc like...... lol.... Most biased media ranking system on earth blatantly made by someone with an extremely hyperspecific range of narrow interests. It'd be like if a food reviewer only had 5 foods they actually liked, so they'd just go to a pizza place and be like "eh, the pizza was okay, but I just think it would be better if it was cereal instead. :/ ...2 out of 10"

[uniiiquehecrt]

"In talking with Ken, we had decided that Asgard was inhabited by warrior gods, but that they live at the top of the Nine Realms. Their privileged perspective on the universe should be so advanced and elegant that it should not be cluttered with the normal details that we normally associate human beings with. The technology, the building construction, the methodology of their architecture is so advanced the human brain cannot even comprehend it." – Bo Welch , THOR (2011) Dir. by Ken Branahan BTS: "From Asgard to Earth"

[dribs-and-drabbles]

Observations on ep 4:

Ray needs time away from Mew, and Nick needs to stay away from Boston.

Mew must still be protected at all costs.

Ray needs therapy.

Nick also needs therapy.

Boston: "I don't want any drama". Also Boston: *causes all the drama with Top*.

Karma will come for Boston for messing with Top (which will eventually hurt Mew...and I revert you back to point 2).

Sand feels like the only balanced one of the six...so hopefully he will be good for Ray...and hopefully he won't get hurt.

[inej-qhafa]

TRANSATLANTIC 1.02 | “The Angel of History”