#OZ Character Outfit | Explore Tumblr posts and blogs

applepieshy · 7 months ago

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I had an idea to redesign vox because I didn't love that a character obsessed with modernization would wear a top hat and bowtie. then after a brief stint into madness where I read my partner's historic costuming textbook I drew.... all this.

(side note: the idea of vox being a trans man who transitioned AFTER death was super compelling and absolutely inspired by @prince-liest so while this is not direct fanart of their series I wanted to give a shoutout anyway!!!)

okay some TRULY unhinged rambling about historic costume below the cut YOU HAVE BEEN WARNED!

1950s: for this design I very much did not want to go to the typical a-line housewife look, because I feel that is unfitting for vox's character. instead I went for a more business look, but there is still a level of femininity that he would have been expected to perform. i wanted to express his discomfort with that through the pose and expression, though at the time he wouldn't necessarily have a framework for why he hated it

1960s: this one was very fun. i loved the idea of vox beginning to eschew some of the expected feminine presentation, and he no longer wears makeup, jewelry, or hose (though its hard to tell in black & white); however, he's kind of at war with himself in this time period. he's obsessed with seeming perfect and having a respectable image, so he would not go in for the counter-culture movements that were so big in the 60s. he's still kind of riding those coattails though, pushing those boundaries while still not acknowledging his queerness.

1970s: to me, it was very important that the gender hit as he entered the world in color. in my mind the gender euphoria is physically manifested in a wizard of oz situation - he can become who he always has been. anyway, gender aside, I think it was very important to me personally that he wore an ascot. it was for my mental health.

1980s: I wanted the 1980s to be the period where he began to gain some power and notoriety because of the de-regulation of television during this period to allow more ads, mirroring real-world history. I think if the 70s were when vox gained some real confidence, the 80s are when he got an Ego (tm). "business casual" also began to become more acceptable in this time period, and the t-shirt/suit jacket combo was very important for me to include, as to me it epitomizes the commercialism and machismo of the 80s.

1990s: this was actually the decade I was the most nervous to design, and yet I think it turned out the best? the 90s are known for grunge, which I think is NOT vox's style at all. I decided instead to lean hard into the yuppie look, which I know is more associated with the 80s but was definitely still a thing in the 90s. I also allowed a little hip-hop influence in the form of a gold chain from val, which is not something I think vox would ever pick on his own.

2000s: if the 90s were the decade I was worried about and turned out great, the 2000s are the decade I thought I had down SO GOOD and then totally floundered in execution. I still love the bubble-mac inspired head, and I tried to make his clothes as "round" as possible. I also like that this is the time where his saturation got cranked. however, I don't know if I'm in love with the vest and super bright sneakers, because again, looking back on it, he kind of looks like he works at a movie theater or best buy or some shit lol,,,

2010s: I think it's telling that this is by far the closest to his canon design (2014 tumblr lookin ass). I really wanted to pull from that hipster tech bro era, but unfortunately that aesthetic has a veneration for "retro" which again, is not fitting for vox. I still think he would wear the bowtie during this time because, well... he sure does in the show!

2020s: this was fun because I had an excuse to pull from haute couture design rather than street fashion because of the introduction of velvette into his life. I truly do not think velvette would let vox and val walk around in the outfits that they do because it would be an actual embarrassment LMAO. for this, I wanted his decorative "robes" to be evocative of the time he depicted himself as a priest AND of a cape/robe of an emperor. he does think of himself as that bitch, after all.

#vox #trans vox #vox redesign #vox hazbin hotel #hazbin hotel #hazbin fanart #my art

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hotvintagepoll · 5 months ago

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can yo utalk more about how the costume designers are different?

Sure!

There are no hard-and-fast rules for telling one designer's work from another, because most designers adapt their style to the story they're telling—a sign of a good design is if you don't notice it, because it feels so natural and a piece of the world of the movie. But I still think you can see connections and quirks in a designer's body of work that show what they specifically bring to each project.

Walter Plunkett—sense of humor. I mentioned this earlier but there's a brightness to Plunkett's work, a sense of perspective on the story he's telling and how he's translating it into clothes—Seven Brides for Seven Brothers has dresses made of Salvation Army quilts, which shows some creative thinking about how his stranded characters would build outfits from nothing; Singin' in the Rain is self referential to the silly things he wore and designed as a young man in the 20s; Gone with the Wind has that fun curtain dress, where he intentionally keeps the tassel as a tell on its origins. That kind of thing might sound easy, but keeping a sense of humor and context present in the costume design is vanishingly rare. His clothes can trend a little camp, but I think that's part of the fun.

Edith Head—high fashion styling. Edith's favorite movies to design for were pieces with High Fashion Moments™, things that leaned heavily on sophistication, suits, and showing the clothes as clothes. You can see this in Grace Kelly's gowns in Rear Window, Kim Novak's suit in Vertigo, Bette Davis in All About Eve—elegant designs that have minimal trim or color, that get their power from their clean lines, tailoring, and very specific detail points.

Helen Rose—also trends toward camp, but less because of little humorous touches like Plunkett and more because of her fondness for gaudy colors and extravagant details. She rarely nails the tailored elegance of Head, but she makes up for it by going bold—her designs have a sense of big-ness to them, plus that love of color where they punch right off the screen.

Adrian—if there's a weird shoulder pad or some angular tailoring happening, Adrian is probably involved. You know Adrian's work from The Wizard of Oz—he loves high proportions, and builds his work off of them.

Orry-Kelly—I haven't found a consistent tell across his work, but if he's the designer you can tell it's going to be a banger.

#hotvintagethoughts #asks #costume design

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watchnrant · 1 month ago

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Agatha All Along Episode 7: Easter Eggs & References

Death’s Hand in Mine

Lilia Calderu’s Epic Leap into Her Destiny

In Agatha All Along Episode 7, “Death’s Hand in Mine,” that haunting line from Ballad of the Witches’ Road hits hard, especially for Lilia Calderu. This isn’t just another dramatic beat—it’s the heart of her story. Lilia knows exactly what’s coming, and instead of running from it, she steps right up and grabs it by the hand. She’s not just staring down death; she’s embracing it, ready to take her destiny head-on.

What’s truly wild is that her sacrifice isn’t just about going out in a blaze of glory; it’s a calculated move. Lilia realizes this is the only way to save her coven, and she’s all in. Her death isn’t born from fear but from a fierce determination to protect those she loves. As she plunges into the unknown, she flips what could’ve been a tragic ending into an epic act of heroism.

Witchcraft and Wardrobes

Channeling the Magic of Iconic Witches—Wicked, Glamorous, and Sinister

In Agatha All Along Episode 7, we dive headfirst into a magical realm where our favorite characters channel iconic witches from fantasy lore. This isn’t just a costume party; it’s a masterclass in storytelling that enriches our understanding of who they are and what they represent. Each outfit and persona acts like a mirror, reflecting deep themes of power, identity, and legacy in the world of witchcraft.

Agatha Harkness as the Wicked Witch of the West: When Agatha transforms into the Wicked Witch, she’s not just throwing on some green makeup and a black dress. No, this is a bold statement. The Wicked Witch is the epitome of cunning and darkness, and Agatha steps right into those shoes (or should we say, flying broomsticks). This parallel isn’t merely superficial; it invites us to question the nature of villainy. In The Wizard of Oz, the Wicked Witch is all about control, much like Agatha, who deftly manipulates events to carve out her narrative. By embodying this classic character, Agatha challenges our assumptions about good and evil, pushing us to explore the grey areas in between.

Billy Maximoff as Maleficent: Then we have Billy, rocking a look straight out of Maleficent’s wardrobe. This isn’t just a nod to the Disney villain; it highlights the complexity of Billy’s character. Maleficent is often portrayed as a symbol of empowerment, reclaiming her narrative after being wronged—sound familiar? Billy’s journey of self-discovery and grappling with his powers parallels this. By dressing as Maleficent, Billy taps into the darker aspects of his own identity, showing us that with great power comes not just the potential for heroism, but also the risk of losing oneself in the shadows of legacy.

Lilia Calderu as Glinda the Good Witch of the South: Lilia, on the other hand, embodies Glinda, the Good Witch. Draped in an ethereal gown, she radiates hope and support within the witch community. Glinda is a guiding light, offering wisdom and nurturing strength, and Lilia steps into this role with grace. This costume choice isn’t just about aesthetics; it reinforces the importance of sisterhood and collaboration among witches. In a world where Agatha often manipulates, Lilia’s character reminds us that power can also uplift and unite. She’s the bright spot amid the chaos, hinting at her potential to mediate the conflicts brewing around her.

Jennifer Kale as Snow White’s Hag: Last but not least, we have Jennifer, transforming into the menacing hag from Snow White. This choice is both haunting and poignant, capturing Jennifer’s tumultuous journey. The hag symbolizes the darker aspects of femininity, manipulation, and survival—elements that resonate deeply with Jennifer’s backstory as an 11th-generation root worker. By adopting this persona, Jennifer confronts her past traumas and societal perceptions of witches as malevolent. This metamorphosis is a declaration of resilience and reclamation, showcasing her evolution from victim to a powerful force in the magical realm.

Spellbinding Themes and Character Dynamics

This episode isn’t just about costumes; it’s a narrative device that lays bare the characters’ motivations and the overarching themes of the series.

Identity and Empowerment: The costumes serve as a canvas for each character’s struggle for self-definition in a world that loves to pigeonhole witches. Agatha’s embrace of her villainous side, Billy’s link to Maleficent, Lilia’s nurturing role, and Jennifer’s reclamation of her identity all spotlight the diverse spectrum of witchcraft. The show encourages us to reflect on how personal experiences and societal expectations shape who we become.

Sisterhood and Conflict: The dynamic between these witches highlights the delicate balance between unity and rivalry. Lilia’s supportive nature as Glinda is a stark contrast to Agatha’s more duplicitous tendencies, creating a rich ground for both conflict and collaboration. This tension echoes the broader theme of sisterhood, illustrating how witches can either lift each other up or become adversaries, depending on the choices they make.

Legacy and the Weight of History: Each character’s costume is a reminder of the rich histories they embody, prompting us to consider how their pasts shape their present identities. Whether it’s Agatha grappling with her villainous reputation, Billy dealing with familial expectations, Lilia confronting societal roles, or Jennifer struggling against limitations, the interplay of legacy and personal choice creates a narrative that resonates deeply with the complexities of modern witchcraft.

By weaving these references to iconic fantasy witches throughout history, Episode 7 of Agatha All Along not only pays tribute to beloved characters but also invites us to dig deeper into themes of power, identity, and the evolution of witchcraft in today’s storytelling landscape. It’s a beautiful reminder that the past informs the present, and in the world of witchcraft, nothing is ever as simple as black and white.

Another Trial, Another Countdown

The Hourglass Pushes Us One Step Closer to Destiny

The trial motif cranks up the tension in Episode 7 with the hourglass—your classic “time’s running out” symbol, and for Lilia, it’s hitting hard. She’s been battling against time her entire life, but the hourglass is the ultimate countdown to a fate she can’t dodge. It’s not just there for dramatic flair, though. This hourglass ties back to earlier episodes, where we had the kitchen timer in Episode 3, a metronome in Episode 4, and that retro ’80s digital watch in Episode 5. These weren’t just fun props—they were breadcrumbs leading to this moment. Time has always been Lilia’s greatest enemy, and as the sand slips away, so do her chances of rewriting her destiny. Her trial isn’t on the horizon anymore—it’s happening now.

Agatha Labels Lilia “Dory”

When Memory Lapses Meet a Perfect Pixar Zing

In Episode 7, Agatha’s sarcasm hits a new high when she calls Lilia “Dory” as she struggles to make sense of her disjointed memories. This clever jab is a clear reference to the forgetful fish from Finding Nemo and Finding Dory, voiced by Ellen DeGeneres. Just like the animated character who can’t keep a thought in her head for more than a few seconds, Lilia’s chaotic memory issues get a playful dig from Agatha, proving once again that no pop culture reference is off-limits when it comes to her sharp-tongued humor.

Billy’s Reunion Prophecy

Tommy Isn’t the Only Possibility

In Billy’s reading, Lilia drops the bombshell of an upcoming reunion. Naturally, Billy’s mind jumps straight to his twin brother Tommy—after all, that’s the whole reason he’s on this journey. But here’s the kicker: it might not be Tommy. This reunion could take a wild turn and involve someone unexpected, like the Scarlet Witch or even Vision. Whoever it is, you can bet it’s going to shake things up in a big way.

Lilia’s Flashbacks Pay Off Big

It All Comes Together in Episode 7

In Agatha All Along Episode 7, we finally get confirmation that all of Lilia’s seemingly random outbursts throughout the season are tied to her out-of-sync existence in time. Every cryptic line she’s dropped has been a breadcrumb leading us to this moment. Here’s a breakdown of each phrase in the order it was first said

“Wispy or Kooky?” – Episode 4

“Alice Don’t” – Episode 4

“Try to Save Agatha” – Episode 3

“I Hated This the First Time” – Episode 5

“Get Off Me” – Episode 2

“You Know We Really Hated Each Other in the Beginning, But Now…” – Episode 3

“I Love You Guys” – Episode 3

When you piece them together, it’s pretty touching to realize that some of Lilia’s final words were expressions of her newfound love for the coven. The bonds she formed as they walked down the Witches’ Road make her sacrifice even more impactful. Her out-of-sequence life wasn’t just a quirky character trait—it became the key to saving her coven when the Salem Seven came knocking. Lilia’s journey may have been chaotic, but in the end, it was all part of her story of loyalty and selflessness.

Lilia’s Tarot Drop in Episode 7

The Cards Are More Than Magic—They’re the Coven

Throughout Agatha All Along, Lilia Calderu’s cryptic outbursts weren’t just random—they were actually names of Tarot cards that come into play during her trial in Episode 7. Here’s how each Tarot card, previously mentioned by Lilia, ties into key characters and moments:

Queen of Cups – This one is all Lilia. She’s the intuitive force, trusting her inner voice even when time itself is working against her.

Three of Pentacles – Represents the entire coven. It’s about collaboration and sisterhood, something Lilia had been missing but ultimately finds in her fellow witches.

Knight of Wands – Linked to Alice and her recent death, symbolizing the path already taken and what’s been lost.

High Priestess – All eyes on Jennifer here. She’s the future, holding immense spiritual power, even if she’s not ready—or willing—to use it yet.

Three of Swords – Agatha holding Billy, representing the obstacles ahead: heartbreak, sorrow, and grief. It’s the emotional weight hanging over them all.

Tower (Reversed) – A symbol of destruction and upheaval, but reversed, it hints at miraculous transformation amidst the chaos.

Death – Of course, Lady Death herself, marking the inevitable end. “Death Comes for Us All” rings loud and clear here.

The way Agatha All Along uses these Tarot cards to weave together Lilia’s journey is brilliant. Episode 7 really nails the narrative payoff, showing how each card connects not just to Lilia, but to the entire arc of the show. It’s a well-executed nod to both Lilia’s fate and the future that awaits the coven.

Rio’s Big Mic Drop

Lady Death? Yeah, She’s the OG Green Witch

Well, there it is! Rio just claimed the title of Lady Death, proving she’s been the original Green Witch all along. Things are about to get real wild!

Episode 7 of Agatha All Along drops a bombshell in its final moments—Lilia finds out that Rio Vidal is none other than the living embodiment of Death herself. Yup, you heard that right. Turns out, Rio’s the original Green Witch, and all those subtle clues sprinkled throughout the season finally come full circle. Oh, and Agatha? She knew the whole time, of course. With this massive reveal now out in the open, the last two episodes are set to explore just how insanely powerful Rio really is, and let’s be real—the stakes just got cranked up to eleven.

“Time in a Bottle” Packs a Punch

Lilia’s Emotional Rollercoaster and a Nod to Quicksilver’s Epic Scene

In Agatha All Along Episode 7, we get hit with Jim Croce’s “Time in a Bottle” during the end credits, and let me tell you, it’s not just background noise—it’s a deep cut into Lilia’s entire journey. This track does more than just set the tone; it taps into her power, her sacrifice, and the emotional weight of her story. When Lilia says, “Time is an illusion,” it’s not just a throwaway line—it’s the crux of her whole deal, living her life in a way that doesn’t follow a straight path.

The lyrics, “If I could save time in a bottle… just to spend them with you,” basically summarize Lilia’s abilities. She’s lived with time bottled up inside her, experiencing moments out of order. But, like the song, she couldn’t actually control it—she could only observe, never change. It’s that heartbreaking realization that, while she has the power to see everything, the moments still slip through her fingers. Much like Croce’s wish to preserve time for someone he loves, Lilia experiences her own life’s key moments—both the good and the gut-wrenching—but they always feel more like fate than choice.

Croce’s next line, “But there never seems to be enough time to do the things you want to do, once you find them,” hits hard for Lilia. Even with her foresight, even knowing what’s coming, she couldn’t avoid the tragedies she saw. It was all laid out in front of her, but she was locked into it, just like her destiny. And in her final moments, she sacrifices herself, not because she had a choice, but because she had already seen it play out. That’s the kicker—it wasn’t desire driving her actions, it was inevitability.

“If I had a box just for wishes and dreams that had never come true…” Okay, this line? It sums up Lilia’s entire existence. She wasn’t making decisions based on dreams or hopes—she was following a script she’d already lived. Everything she did—casting the sigil, warning Agatha—wasn’t a choice. It was something she’d already done, over and over again, like a broken record. And the acceptance of that is what makes her story so tragic yet powerful.

By the time her death arrives, Lilia’s already prepared. She knew it was coming, and her Maestra’s lesson—that divination is about bracing for the future, not changing it—was the backbone of her life. She fought against what she saw but couldn’t escape it. Her story, much like Croce’s song, is a bittersweet reminder that no matter how much we wish to freeze time or hold onto moments, it’s always slipping away.

Now, for the Marvel fans out there, let’s not forget the bigger picture here. “Time in a Bottle” was also the iconic soundtrack for Quicksilver’s unforgettable scene in X-Men: Days of Future Past, and with Evan Peters’ appearance in Agatha All Along, the connection feels like more than a casual nod. Just like Lilia’s fate, the song is all about love, loss, and the ticking clock we can’t outrun. It leaves us wondering—if Lilia could’ve truly controlled her time, how much would she have saved?

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maxwell-grant · 2 months ago

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The Penguin Ep3 - "Bliss" Breakdown

(Episode 1) (Episode 2) (Episode 4) (Episode 5) (Episode 6) (Episode 7) (Episode 8)

So that's what Victor's image in the credits was meant to represent the whole time. A still of him inside the last memory he has of his home, his perspective on the window before it all went to shit.

I get that it might have been obvious the opening was a flashback given the election was still ongoing and given we get to see Vic's friend, the one who was shot by Sofia, still alive, but they also peppered enough bits that hade me fully convinced we were just watching Victor's present life when he was out of earshot from Oz. The bombs were a genuine shocker.

Credit to @davidmann95 for pointing out that the rooftop pebbles are Victor's equivalent of the Crime Alley pearls, an extremely important detail to add to the other Batman parallels Victor's gonna be shown having in this episode.

I'm loving a lot of the choices that go into Oz's outfits and specifically what kind of outfits he wears around specific characters, the whole chameleon thing he's got going personality-wise reflective in his choice of wear, and I like how this extends to the people around him and his choice of vehicle and base and everything. He may not wear fine suits everywhere and for all occasions, but this is very much a Penguin concerned about fashion particularities and branding and ways to dress up himself and the people acting in his behalf.

This scene where Oz pays Victor is funny, but it importantly sets up an element that's gonna come into play regarding their relationship by the end of the episode, that is how hard Oz projects on Victor and how much of his insecurity and need for affection comes through in his attempts to deal with the kid. Two episodes in after all the shit Victor's done for Oz and it's the first time we're seeing Oz talk about giving him a salary. It's not an unusual comedy beat, sadly not a real life one either, but the thing is, Oz is not a cheapskate, far from it. Across the last two episodes, he's been very quick to fork over cash to smooth over negotiations, and he's more than happy to pay the kid and praise him for demanding double (even if he shuts down the idea), it just genuinely never occurred to him until the moment that, right, the kid whose job is driving me around and burying bodies and putting his neck on the line for me needs a paycheck, of course, he's gonna get a nice thousand per week because I'm a good boss who does that kind of thing.

Nice little reminder of the class disparity element of the show, in how Sofia looks at Oz's set-up and dismisses as tacky garbage, while Graciela calls it bougie and thinks Victor's basically set if his boss is letting him crash in a place like that. Also illustrated in the money scene earlier, because from what I've researched, a thousand per week is an average salary for a driver in New Jersey (which is where this Gotham is located), and despite Oz calling it a start, Victor's already shocked at how much money Oz is paying per week. Just these totally different conceptions of what money and good living entail across the board for our characters. SPEAKING OF totally different standards,

So it turns out that Sofia has been planning her own meteoric ascension into ruler of Gotham for about as long as Oz, and more effectively at that, and if there's anything this episode will establish for sure about her, it's that Sofia Falcone is an actual supervillain the way Oz is still some ways from being. Alberto's shipment wasn't the ticket for the two of them, just for Oz, and Sofia just needed him to drive her around and open the door once more.

Oz the whole time basically happy with running a club and pushing dope out of a warehouse to the point of crying to her in the end that it was the best thing that ever happened to him, while Sofia here casually unveils a Gus Fring hidden meth lab with a mushroom forest full of Arkham Super Drugs and another Batman Villain working out in the backroom to produce them. Oz spent the last years ass kissing and spinning plates and seizing his own little levers of power all over Gotham, while Sofia was enduring soul-redefining torment entrenched inside the Supervillain Factory of the world where she would discover and pillage the tool that would let her conquer the city in one swoop.

A tool that she debuts before the underworld with an intimidating yet casual speech, above the city writhing before her and falling by the minute into her grasp, before casually leaving and telling her grunt to wrap up negotiations for her. The Riddler showed Gotham what a supervillain is and can do, a call to the maladjusted victims and freaks everywhere to grab their masks and bombs and get in the action because this is how the world works now that Batman exists, but Sofia here shows us not just a different way the rot spreads across the city, not just a way in which Arkham can become the other force filling in the power vacuum, but that being a supervillain is also a business model every respectable criminal in the city is gonna have to get on board with real fucking quick.

I love/hate that we get to have a few scenes of Sofia and Oz working together and how good they are, glad they could at least give us those before everything gets turbofucked forever further.

I definitely encourage you to keep up with the Penguin podcast, and particularly the latest episode where they talk with Rhenzy Feliz and fluency consultant Marc Winski, where they go over the thought and care that went into depicting Victor's stutter and incorporating it into the character and show, it's a very insightful conversation.

Oz's empathy for people with disabilities shows up in him complaining at the waiter for speaking over Victor, and later in their scene with Johnny Viti when he berates him for calling her a psycho, and is consistent with lots of other little moments where it's come up. I like that this is a consistent thing with Oz, and not just one of the things he does for show - even when he's complaining about Sofia to Victor, he never disparages her based on mental illness, he calls her uptight and elusive and a problem he wants off his back, but he never insults her the way all the other mobsters do.

Even in the bathroom scene by the end of the episode, where he does lose his patience and rushes Victor to explain himself, only happens after they've reached a boiling point. I do think it's important, for his character and role, that Oz maintains some important principles, even if they are still self-serving.

Again, love how the show knows just when to drop the Penguin name to maximize hurt on Oz.

What a fucking show Farrell and Miloti and Feliz give us in this episode.

I said back when the trailers dropped that Sofia Falcone looked like she was going to be the prestige crime drama protagonist that this show would have if it wasn't about The Penguin, and that's the vibe you get out of these two together. She is the tormented HBO leading lady and he is the charismatic side character, he is her driver with a wacky voice and face that bites it tragically to motivate her revenge / bites it after the reveal of how he backstabbed her. Which is exactly where the Falcones liked him, that funny guy in a supporting role who drives them around and runs their club and digs up their graves, and it's partially how their last scene in the episode plays out.

"Yeah I know I ruined your entire life and led to irreparable damage to your mind and sanity and reputation and all that, but I really wanted a little piece of the action as a nightclub owner, is that so bad?" is a confession that Oz only survives because he's the main character. In any other show, him bearing the depths of his embarassing pathetic soul to Sofia like that would be the last thing he does before dying, tragically or cathartically.

But to his credit, it worked. Sofia actually sheds a tear for him. It's the first time Oz has seemed genuinely honest with her, and more importantly, it's the first time anyone has been honest with Sofia ever since she got back from Arkham. She really has no one else she can possibly trust but the least trustworthy person on the planet. Who on Earth could possibly be willing to make an ass of themselves before her like that if they weren't being truthful?

Lauren LeFranc: You know, I think Oz is a bit of a walking contradiction and I think he deeply believes what he believes in that moment. I think he genuinely feels that way. Also understands the benefit of her being on his side at the same time. Right? Like, if she doesn't believe in him, their operation currently goes to hell. Not to say that he's playing that up, I think that is a moment of genuine emotion from him. But I also think for a man like him, he's not quite sure where it begins and ends. He doesn't believe that it's bullshit. That doesn't mean that it's not. Like, I don't know if he can even identify it or if, honestly, if Oz takes the time to unpack that. He's not a guy who's like, "Hmm, let me think about my actions today.", you know? - The Penguin Podcast: Episode 3

I'm extremely curious as to what the Sofia-Oz dynamic is gonna look like in the rearview. Does he have enough of a lid on his temper to fake that masterfully being offended on Sofia's behalf while playing her attack dog? Does he genuinely regret that she got sent to Arkham over whatever he did? I think this and the ending scene go a long way in pending towards either way and that's interesting to me. Even if 90% of what he says is bullshit there's some of that regret / kinship that feels genuine

I am very curious to see what becomes of Eve and what more will we learn about her. She seems to be Oz's second-in-command when it comes to businesses he does with her and the girls, and I like that the girls and Victor form a personal squad for Oz (and crucially, he's promising all of them a bigger slice of the pie when he becomes a big shot, and just as crucially, all of them have massive targets on their back right now).

It is genuinely funny how appalled and offended Oz is, at the idea that maybe the kid he roped into this with a gun to the head only stuck around out of fear, not because the kid thinks he's a great guy giving him a chance. I call him the Michael Scott of crime and I mean it. But like most funny things about the Penguin it also has something sad and lonely and pathetic and human about it, the ever present disconnect between the gentleman he wants to be and the thug he acts like.

Like with the salary thing, it just did not cross his head at any moment prior to this, not when he threatened to kill the people he cared about or openly argued with Vic whether to shoot him and stuff him in a trunk, not when threatening to gut him like a fish for messing up or spilling his secrets or telling him to lie with corpses, that Vic was sincerely scared of him and his power and did not leave because he feared this known gangster would do exactly what he said he was going to do. To Oz, doing those things to "his guy" now would be unthinkable, but the question that Vic wanted to leave never even popped in his mind.

And it makes him genuinely upset. That scene at the bar, where he is fully alone, sad and tired with his drink, tired from all the plates he's had to spin and all the indignities he's endured and still endures, tired from all the hats he's had to wear, and sad because the only person so far he's been able to let down his guard around, the one person with whom he could at least wear a hat he liked just bailed on him.

Of course he'd never kill Vic for just wanting to leave, once he realizes that this is actually a factor in how Victor views him and obviously he'd be a bad boss if he did that. Of course he gets angry at Victor for wanting to throw away an opportunity given to him that Oz would have (and probably has) killed for, he's giving Victor the kind of help he desperately wishes he got and he's gonna throw it away? Of course he gets shocked at being reminded Victor is a guy with needs, a guy that Oz holds lethal power over, and not just a kid version of Oz that he can live out his Rex Calabrese fantasy by helping out and mentoring. And of course, none of the cruel and hurtful things he says to Victor before he leaves would sting if there wasn't just enough of a bitter truth to them, or at least, enough of it to stick with Victor.

What an excellent scene Victor's panic attack was, totally get why it was the editor's favorite

I was waiting for a Victor-centric episode and was not dissappointed, this is the episode where he first comes on his own as a character and we see how crucially important he is to the show, the from-the-bottom ground floor perspective on everything that Reeves and LeFranc have repeteadly defined the project around. I love getting to see such an on-the-ground perspective of how fucking monstrous Riddler's plan was, and the kind of lives it ruined. This poor kid thrust headfirst into a Batman/Robin origin story and situation.

It's like Feliz said in the podcast, the end of the episode is the first time we've ever seen Victor, and maybe the first time Victor's ever seen himself, outside of survival mode, outside of simply living to try and get to next hour and do what his parents/Oz tell him to, which is a painfully real state to be in for anyone who's dealt with poverty growing up or is dealing with poverty right now. It's the first time he really has an opportunity to decide on his own what he's going to do on his own. As much as we may know he's making a doomed choice, that he really should just hop on the first bus out of Gotham and join his girlfriend in the sun, well, he's a Batman character, he doesn't get to do that.

Victor wants to live his life and protect himself and the people he loves and make good choices and be a good person, but on a deep fundamental level, he just wants his family back, he wants his dad back, he wants to do right by them more so than by himself, even if that means doing things they would find detestable. Like the son of a doctor, a son who now chooses to inflict violence every night if it means he can avenge their memory, here we have the son of a nurse presented with a choice: He gets to honor the intentions of his parents by dying as a well-meaning decent nobody like they did, or he gets to make up for the shame of how they died by living a good life, one which was denied to them, by surviving and thriving as a criminal. He gets to honor their ideals, or get back at the shameful cruel reality of how they died, but he cannot do both. So he makes his choice.

Oz, in this episode, burns nearly every single bridge he has: with the Falcone family, with the Maronis, and with Sofia, and he even does it with Victor. If Victor hadn't come back, Oz would have died on that parking lot, and still Oz is ecstatic that his guy's come back, because all he wants is for someone to like him enough to stick around with him. Victor is not so sure he's not in for a horrible time now, but in his own way, he also burned his bridges, and he also got what he wanted.

Okay Vic, you wanted dad to not take shit from others and shoot for a better life, you got a dad who will teach you to do just that. You wanted to pal around with small-time criminals you were friends with even if your parents insisted otherwise, well, the king of hoodlums is the only guy you have left in your life now.

You have committed yourself body and soul to a dangerous life within the city you love, spurred on by the tragic injustice that took your parents in an event that destroyed your entire world? Great, welcome to Gotham, here's even a new name you get out of it.

#dc comics #batman #the penguin #hbo #hbo max #oswald cobblepot #oz cobb #victor aguilar #colin farrell #rhenzy feliz #sofia falcone #cristin milioti #lauren lefranc #matt reeves #the batman

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one-step-at-a-time25 · 28 days ago

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okay it’s time! For the outfits meanings! (If this doesn’t make sense sorry)

Lillia being the Gilda (I think thats her name) is obvi about how she was good and saved everyone but it’s funny because she died defying gravity

Agatha being the green witch means different things depending on your view of the story ( wicked vs the wizard of oz)

In wicked she is a misunderstood powerful person

in wizard of oz she is a flat character who is a evil witch

this could represent how she (Agatha) appears to be a flat character who is just evil but is actually very complex and misunderstood

Teen is maleficent!

again same thing with Agatha (like adopted wine mom like son)

In her sole Movie is misunderstood but in the original she is just evil

Then Jen is the evil hag which from snow white

this is because of the link to potions and how she always wants beauty (Jen runs a beauty channel)

#agatha all along #agatha harkness #rio vidal #agatha x rio #agathario #aubrey plaza #kathryn hahn #agatha all along spoilers #marvel #gay

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yellowbrickramble · 3 months ago

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The top scene is, naturally, supposed to mirror the Scarecrow's imagined fate of Dorothy and Toto on the previous page. Fans of the books may recognize the American friends from the later stories despite my creative reinterpretations.

From left to right: Cap'n Bill, Button-Bright, Trot, Billina the chicken, Toto & Dorothy of course, Eureka the kitten, Zeb Hugson, and the Shaggy Man.

Button-Bright's one of the more interesting characters in the Baum's Oz despite being a non-magical kid from Philadelphia. I gave him the outfit he wears in the later books rather than his iconic sailor suit from Road to Oz.

Baum's first published book was a nonfiction book on raising Hamburg chickens, so I thought it'd be fun to model Billina on a Hamburg as an homage.

I can't very well make pre-fairyland Eureka pink, but I gave her pink attributes.

I gave the Shaggy Man a fur coat here because it conveys shagginess really well. If I ever do a comic with him in it, I may opt for something else, but it works for a single panel fantasy scene.

If you like my comics, please check out my Patreon! (link in bio) Every little bit helps!

#the wizard of oz #dorothy gale #tin man #scarecrow #comics #comix #sawhorse #ozma #jack pumpkinhead

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0citrix0 · 2 months ago

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Here is the first Wizard of Oz drawing! It’s Chase as the Scarecrow, beca I tried to match the characters to the ones with similar personalities rather than the role(might not be totally accurate cuz, surprise surprise, I’ve never actually watched the Wizard of Oz lol)!! Don’t mind the crappy back round lol, I was trying 😔

Also, after we find out what key prunella has, should I start making her little outfits too??

#cinderella boy #chase cinderella boy #cinderella boy punko #cinderella boy webtoon #Wizard of Oz but Cinderella boy #he’s got a tiny hat

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raven-at-the-writing-desk · 7 months ago

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Twst in “ The wizard of oz” ( a shitpost)

Yuu as Dorothy ( obvious choice)

Grim as Todo

Ace (or Deuce) as The Scarecrow

Ortho as The Tin Man

Epel (or Jack) as The Cowardly Lion

Vil as Glinda (He would look pretty in her dress)

Azul as the Wicked Witch of the West

Jade and Floyd as The Flying Monkeys

Crowley (or Idia) as the Wizard himself

And the rest of the cast are the munchkins

( let me know what you think of the cast, and who would you choose to cast here)

I uh 💀 recall being forced to watch Wizard of Oz once as like a 7 year old, so my recollection of it is vague at best 💦 I did refer to its Wikipedia page to summarize the story and characters to me, so hopefully that’s enough to get an understanding of this prompt!

My interpretation would be:

Yuu as Dorothy and Grim as Toto! The obvious picks ✨

Expanding Team Dorothy and co. to create novel roles so each of the first years can have a part in the journey; I very much like the idea of the first year friend group!

If we’re sticking with just the Scarecrow, Tin Man, and Lion… I’d choose Deuce for Scarecrow (since he is objectively the less intelligent between him and Ace). What Deuce would gain at the end wouldn’t be smarts, but rather the understanding and the acceptance that he’s stubborn and simple-minder, and that’s his strength. This would be similar to how Deuce unlocks his UM in book 5, by embracing his true self.

Jack would be my pick for Lion (since he is more beast-like). Additionally, Jack had to deal with finding the courage to stand up to the rest of his dorm, including the dorm leader, in book 2.

Vil as Glinda works, but I can also see Azul playing Glinda in a sleazier manner befitting the shadiness of a used car salesman. I just think that juxtaposition between how kind he looks and his real attitude would be hilarious (think of like Fairy Godmother from Shrek 2).

Back to the idea of Vil as Glinda though, he’d totally kill the look!! I think it would be funny if the ruby red slippers that bring Yuu home are the crimson Ténèbres brand mirror heels 👠👠 mentioned in Jade’s Dorm Uniform vignettes (a highly exclusive shoe that even Vil dreams of but finds it hard to get his hands on). RIP Yuu though, having to walk to the Emerald City in those…

Azul and the twins work as the Wicked Witch of the West and her Flying Monkey (Flying Fish?) henchmen. However, I can also see Malleus and Sebek + Silver in these roles since Malleus is TWST’s poster child for “villains”. He’d be mad that you killed his mother—/j

I can kind of see Idia as the Wizard since they’re both mysterious shut-ins, but I feel Crowley is more befitting since he’s the one constantly promising to find Yuu a way home. Crowley also works better since the Wizard kinda pep talks the Scarecrow, Tin Man, and Lion about how they had the traits the most wished for all along. It seems like the kind of corny thing he would spout to try and convince his students to be friends. The enigmatic headmaster who loves shiny things and oversees a school that looks great from the outside but is constantly dealing with traumatic events on the inside… Doesn’t that kind of man fit the role of someone who lives in the shining Emerald City made of smoke and mirrors?

SHORT KINGS RIDDLE, LILIA, AND EPEL SHOULD BE MUNCHKINS… (Riddle and Epel would be mad about it, but Lilia would have fun with it and ask the others if they think he rocks the outfit.) This is only, of course, if Epel is not already a part of Team Dorothy and co. as a new character and/or if Lilia is not already serving as one of Malleus’s minions.

The Seven Dwarves and Cheka should be included among the Munchkins.

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neverwalka1one · 1 day ago

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I got to see Wicked last night, and whoo boy I have thoughts. Cut for spoilers, you've been warned.

I'm looking forward to seeing the 'Good News' song at the end of the second movie - Glinda already looked conflicted about the Giant Elphie Effigy (good lord those munchkins work fast)

Also, I thought the movie highlighted better that those in Munchkinland knew Elphaba her whole life, and this is still how hard they bought in to the propaganda.

The little hint that Glinda's bubble is all mechanics. Chef's kiss.

Glinda's bubble has a Designated Landing Place. Just. Consider all that implies, with Glinda having been until very recently the Wizard's goodwill ambassador.

'Take it away' will never not be heartbreaking. Also, of course Elphaba is going to grow up a fierce defender of animal rights, she was raised by a talking animal, and that bear was the only one to be kind to her consistently through her childhood. Dafuq.

Baby!Nessa!Rose's little meeps. Just. I died.

'Oh, they're going to miss me.' Galinda I love you you ridiculous gal.

I like this twist on why Elphaba was at Shiz. I loved the way she so desperately wanted to go, but couldn't ask for herself. I loved her trying to defend Nessa Rose's independence... and then still being blamed for stifling her. Excellent.

Also did y'all see the picture of the animals behind the cracked and fallen fresco of the Wizard in that scene? Foreshadowing my beloved.

Galinda writing a little 'it's great' card put on top of the saddest pile of bedding you've ever seen.

'What is this Feeling?' omfg. I loved Elphaba putting her foot down about the roommate situation.

I also liked that they moved Elphaba's talk with Dr. Dillamond off-campus. It makes more sense that this status-quo challenging talk would be done away from the powers that be.

Also it sets up Fiyero running into Elphaba (literally) better, and omfg. I love that horse, he's great, more horse in the second movie please.

Omg Galinda flirting. And Fiyero flirting back, but Galinda (and Elphaba) missing that at that point Fiyero was flirting with pretty much everyone because hey, it's fun, it's easy, and it works.

On that note, Fiyero flirting successfully with the librarian. <3

The whole Ozdust scene. All of it. The outfits, the dancing, the prolonged social anxiety/social embarrassment. The way Elphaba refuses to show she's been hurt. The way Galinda finally understands that. THE DANCE APOLOGY.

I did find it a little weird that one of the only lines cut from the musical was the 'Lemons and melons and pears. Oh my' bit between Boc and Nessa Rose.

Also can we talk about how excellent Jonathan Bailey is as Fiyero?

'Popular' is, as always, fantastic. And highlights just how good Galinda is going to be at the politics of this world.

'That might be your secret, but that doesn't make it the truth' AUGH GALINDA just rip out my heart why don't you.

I liked that when Elphaba rescues the lion cub, she's more restrained/talented than in the beginning of the movie. It makes sense, she's been learning all this time.

THE BIKES. THE LION CUB IN THE BIKE BASKET. THE WIZARD OF OZ CALLBACK. LOVE.

The mushroom things during 'I'm Not That Girl', idk what those were but they were so so pretty lord I love the world-building.

That scene of Nessa Rose, Boc, Galinda, and Fiyero all together, and Elphaba on the outside in the dark. Fiyero looking out over the courtyard as he's being pulled away. Augh, all of it.

The way the students turned on a dime the second Elphaba got that invitation.

That. Train. Steampunk my beloved.

Idina Menzel and Kristin Chenoweth getting singing roles, YES, THANK YOU, that was such a great surprise, I was squeaking like bebe Nessa Rose.

On the flip side... sigh. I called it. Jeff Goldblum was... very Jeff Goldblum. That guy, while a lot of fun, is the exact same character in pretty much everything he's been in for the last few years. I still think that casting was a mistake. Hear me out: The original Wizard was Joel Grey. Joel Grey was also the Emcee in Cabaret. ... so tell me it wouldn't both be great casting and an awesome call back to have casted Alan Cumming as the Wizard. I can't have everything I guess.

Also, and it might be just me/the effects of a late night screening, but when Elphaba and Galinda are walking into the palace, with the doors slamming behind them, and there's a scene with the torchlit hall behind them? Didn't the fire look like how the flames in the original Wizard of Oz movie looked? Just sort of... fuzzier and blurred than how film tends to pick up fire these days? It might have just been me.

Also this movie does have a bit of the Les Mis problem - you've got some cast members with serious vocal chops... and theeeeeen there's the ones that... tried hard. Great actors every single one, but would it have killed the director to find people for those roles that could match vocally as well? This movie doesn't need big names. We're not going for the big names, people.

I liked how the movie explained better why the Wizard not being able to read from the Grimorie was such a big deal.

The monkeys. Oh, the flying monkeys. Also the scene of Madam Morrible framed by flying monkeys. Thanks for breaking my heart.

'Defying Gravity'. All of it. Every bit of it. Holy. Shit. Holyshit. HOLY. SHIT.

So yeah, I'm going to have to see it eleventy-billion more times before it leaves theaters.

#wicked #fiyero tigelaar #elphaba thropp #galinda upland

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izunias-meme-hole · 2 months ago

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My Top 10 Batman Villains (Revamped)

(Because I currently need to get this off my chest, also a lot of these are just in my opinion)

Honorable Mention: Bane (Various) - Despite being misrepresented as a dumb brute and the fact that one of the best adaptations of him somehow gets his voice and nationality wrong, Bane is a villain with QUITE the deserving reputation. A walking tank with a luchador mask that has the brains to match his brawn.

Number 10. Scarecrow (Nolan Trilogy) - Crane wasn't a big villain in the grand scheme of the trilogy, but my god Cillian Murphy does a great job with the character. Like I wish that his supervillain outfit wasn't just a bag over his face, but Scarecrow manages to be quite the dangerous and cowardly loon with a mask of sanity in Batman Begins, an active member of the underworld in The Dark Knight, and the guy actively sending folks to their deaths in The Dark Knight Rises. Could we have had more of him? Yes. Did he use up his screen time well? Absolutely. Though his fear toxin could've been infinitely wilder.

Number 9. Mr. Freeze (BTAS: Heart of Ice) - I feel like this is a "to the surprise of absolutely nobody" moment, but this show reinvented Mr Freeze as a tragic and vengeful figure, and his debut was a perfect example of that.

Number 8. The Phantasm (BTAS) - The Phantasm is one of the best darker counterparts to Batman a lot of levels.

Number 7. Harley Quinn (BTAS) - The minor side villainess turned breakout character of the show. If anyone has seen B:TAS and then seen the rest of the media she's in, then you know why this is the best version of her. A good amount of things about the character being based around her actress (R.I.P Arleen Sorkin), her interactions with half the cast, Peak HarIvy content, the best representation of how bad her situation with her abusive ex was, and the perfect mixture between being a not-so-great-person and a precious lil' thing who deserves better.

Number 6. Ra's Al Ghul (Various) - Ra's Al Ghul may be a more international threat in comparison to the other antagonists I've listed, but he's undeniably one of Bruce's greatest foes. A very rich and powerful older man whose mission and persistence is similar to that of the caped crusader. Though unlike Batman, Ra's is willing to do more than just kill, he's willing to commit genocide, and he's willing to use other harsh and controlling methods in order to create his ideal world. Ra's is pretty much the the worst elements of Batman shoved into a singular self-righteous figure, and when done well he's easily one of the greats.

Number 5. Two-Face (Various) - Harvey Dent is a man split down the middle, a two-faced dude in more ways than one, and an irredeemably tragic figure no matter the perspective, though funnily enough he's always a victim of chance. He's a victim of the one worst possible outcome that had just as much of an opportunity to be the best possible outcome. It's part of the reason why he makes choices based off a literal coin flip. Chance put Dent in the circumstances to become a villain, and as he surrenders his entire being to chance as Two Face.

Number 4. Oswald "Penguin" Cobblepot (Various) - He's just a pathetic and horrible little man. No I'm serious. Oswald has had various portrayals over the years, but they can all be summed up at "pathetic and horrible little man wanting respect" and its great to see in action because despite the fact that he can be legit menacing and sometimes tragic, Oz is just inherently ridiculous on some level. It's great.

Number 3. Catwoman (Various) - Selina, Selina, Selina... she's cool. Sure she is a classic example of a "femme fatale," but aside from that Selina has always been a thrill seeker in some way or another. Be it as a jewel thief who proudly shows this, or an anti-hero that covers this part of herself with actual justifications, there is always an aspect of Selina that enjoys what she does when she puts that mask on. Mrs Kyle is enjoyable, idk what else to say.

Number 2. The Riddler (Various) - Genuinely impressive intelligence and creativity mixed with an ego as big as 3 Russias and as fragile as a glass bottle. That's what you're always bound to find in Riddler. Be it in the 60's show, BTAS, Batman Forever, The Arkham Series, Gotham, or The Batman, Riddler is a Redditor with the theatrics of a gameshow host and the resources of John Kramer.

Number 1. The Joker (Various) - Come on. We all knew this was gonna happen. The Joker is a crook who fell into a vat of chemicals and got a clownish makeover, who ended up becoming the nemesis of Batman. While the other rouges have their particular danger levels, they all have some type of cause they're fighting for or they're purely out to benefit themselves. Joker just causes chaos, death, and suffering, for the sake of his twisted sense of humor. He is willing to kill and ruin lives in the most creative way possible, so long as he finds it funny. Yet despite how twisted he is, this evil ass clown actually can be funny. Not only that, but he's the most effective contrast to Batman, even more than the other rouges. Batman is a frightening figure with a semi-demonic visage who suffered one bad day in his youth, yet he is a hero dedicated to the cause of justice and protecting the innocent citizens of Gotham City. Joker is a colorful figure with a big 'ol grin on his face and a jovial demeanor, yet he is perfectly okay with causing as much unwarranted harm to others for the sake of artistic chaos. Ultimately, the Clown Prince of Crime is a villain that's managed to last for decades, despite the ever marching clock, for these exact reasons.

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