#Smalls Records

[wormy-business]

I saw this question posed on tiktok, but I think Tumblr would really enjoy it too.

If a fae creature offered to give one million dollars for a bone FROM YOUR BODY chosen at random, how many bones would you allow them to take?

Light clarifications; The fae is not the one choosing the bones. The bone is taken at random. Each bone, no matter the size or importance, is worth a full million dollars. You must also declare the exact number first, you can't go bone-by-bone. You either say 2 or you say 10, you can't work your way up to a higher number. The bones are removed instantaneously, and the money is given immediately as well. You will not get in government trouble for acquiring the money.

Tell me in the tags/replies how many bones you'd let the fae take. And as always, reblog for bigger sample size.

[batsyheere]

"So, handling your archnemesis," Danny starts. The room falls quiet, heads slowly turning to look at the man as he writes the words on the chalkboard. When finished, the characters somehow both messy and neat at once, Danny places the chalk back down and claps his hands.

"I typically call them fruitloops. Often they're in a better position than you are- older, richer, more powerful. They may have some sort of status that protects them when facing the public."

Tim wondered where Dick was right now, and if he was laughing. His brain was lagging like a computer as he tried to process what Danny was saying, and how seriously a few of his fellow teen vigilantes were taking this.

"Some of their more common tactics are-" the chalk was picked back up, and Danny writes as he speaks.

"Manipulation, isolation, conditioning, and empathy."

MICE.

Tim stares at the board, and quietly slips put his phone.

-What have I done to deserve this.

Enjoy your lessons Tim-

His head thumps against the desk. Conner leans over, gives him a pat on the shoulder but returns to taking notes as Danny goes on to explain the conditioning tactic.

[baejax-the-great]

For clarity, example:

Author: Hey, here's an update for [Fic 1]! Hope you like it =)

Commenter: When are you going to update [Fic 2]?

[aromanticduck]

*As in you deliberately putting on music you wanted to listen to, not things your parents/siblings etc played for you

[fuckyeahgoodomens]

SFX Magazine Issue 372 - Designing Good Omens ❤ 😊

PRODUCTION DESIGNER MICHAEL RALPH REVEALS HOW THE SHOW’S CENTREPIECE SET, WHICKBER STREET, WAS GIVEN A DEVILISHLY CLEVER UPGRADE FOR THE SECOND SEASON

WORDS: DAVE GOLDER

Invisible Columns And Thin Walls “The new studio is Pyramid Studios in Bathgate – it used to be a furniture warehouse. And unfortunately – or fortunately, because I accept these things as not challenges but gifts – right down the middle of that studio are a series of upright columns. But you’ll never spot them on screen. I had to build them in and integrate them into the walls and still get the streets between them. And it worked.

“There’s all sorts of cheeky design values to those sets. Normally a set like this is double-skin. In other words, you do an interior wall and an exterior wall, with an airspace in between. But really, the only time a viewer notices that there’s that width is at the doors and the windows. So I cheated all that. I ended up with single walls everywhere. So the exterior wall is the interior wall, just painted. All I did was make the sash windows and entrances wider to give it some depth as you walked in.”

GOOD OMENS HAD A CHANGE of location for its second season, but hopefully you didn’t notice. Because Whickber Street in Soho upped sticks from an airfield in Hertfordshire to a furniture warehouse in Bathgate, Edinburgh. It’s the kind of nonsensical geographical shenanigans that could only make sense in the crazy world of film and TV, and production designer Michael Ralph was the man in charge of rebuilding and expanding the show’s vast central set. “I wish we could have built more in season one than we did,” says Ralph, whose previous work has included Primeval and Dickensian. “We built the ground floor of everything and the facades of all the shops. But we didn’t build anything higher than that, because we were out on an airfield in a very, very difficult terrain and weather conditions, so we really couldn’t go much higher. Visual effects created the upper levels.”

But with season two the set has gone to a whole other level… literally. “What happened was that the rest of the street became integrated into the series’s storyline,” explains Ralph. “So we needed a record shop, we needed a coffee shop that actually had an inside, we needed a magic shop, we needed the pub. To introduce those meant we had to change the street with a layout that works from a storylines point of view. In other words, things like someone standing at the counter in the record shop had to be able to eyeball somebody standing at the counter in the coffee shop. They had to be able to eyeball Aziraphale sitting in his office in the window of the bookshop. But the rest of it was a pleasure to do inside, because we could expand it and I could go up two storeys.”

For most of the set, which is around 80 metres long and 60 metres wide, the two storeys only applied to the shop frontages, but in the case of Aziraphale’s bookshop, it allowed Ralph to build the mezzanine level for real this time. According to Ralph it became one of the cast and crews’ favourite places to hang out during down time.

But while AZ Fell & Co has grown in height, it actually has a slightly smaller footprint because of the logistics of adapting it to the new studio.

“Everybody swore to me that no one would notice,” says Ralph wryly. “I walked onto it and instinctively knew there was a difference immediately, and they hated me for that. I have this innate sense about spatial awareness and an eye like a spirit level.

“It’s not a lot, though – I think we’ve lost maybe two and a half feet on the front wall internally. I think that there’s a couple of other smaller areas, but only I’d notice. So I can be really annoying to my guys, but only on those levels. Not on any other. They actually quite like me…”

Populating The Bookshop “The props in the new bookshop set were a flawless reproduction from the set decorator Bronwyn Franklin [who is also Ralph’s wife]. It was really the worst-case scenario after season one. She works off the concept art that I produce, but what she does is she adds so much more to the character of the set. She doesn’t buy anything she doesn’t love, or doesn’t fit the character.

“But the things she put a lot of work into finding for season one, they were pretty much one-offs. When we burnt the set down in the sixth episode, we lost a lot of props, many of which had been spotted and appreciated by the fans. So Bronwyn had to discover a new set decorating technique: forensic buying.

“She found it all – duplicates and replicas. It took ages. In that respect, the Covid delay was very helpful for Bron. There’s 7,000 books in there and there’s not one fake book. That’s mainly because… it’s a weird thing to say, but we wanted it to smell and feel like a bookshop to everybody that was in it, all the time.

“It affects everybody subliminally; it affects everybody’s performance – actors and crew – it raises the bar 15 to 20%. And the detail, you know… We love a lot of detail.”

(look at the description under this, they called him 'Azi' hehehehe :D <3)

Aziraphale’s Inspirational Correspondence “There’s not one single scrap of paper on Aziraphale’s desk that isn’t written specifically for Aziraphale. Every single piece is not just fodder that’s been shoved there, it has a purpose; it’s a letter of thanks, or an enquiry about a book or something.

“Michael Sheen is so submerged in his character he would get lost sitting at his own desk, reading his own correspondence between takes. I believe wholeheartedly that if you put that much care into every single piece of detail, on that desk and in that room, that everybody feels it, including the crew, and then they give that set the same respect it deserves.

“They also lift their game because they believe that they’re doing something of so much care and value. Really, it’s a domino effect of passion and care for what you’re producing.”

Alternative Music “My daughter Mickey is lead graphic designer [two of Ralph’s sons worked on the series too, one as a concept artist, the other in props]. They’re the ones that produced all of that handwritten work on the desk. She’s the one that took on the record shop and made up 80 band names so that we didn’t have to get copyright clearance from real bands. Then she produced records and sleeves that spanned 50, 60 years of their recordings, and all of the graphics on the walls.

“I remember Michael and Neil [Gaiman] getting lost following one band’s history on the wall, looking at their posters and albums desperately trying to find out whether they survived that emo period.”

It’s A Kind Of Magic One of the new shops in Whickber Street for season two was Will Goldstone’s Magic Shop, which is full of as many Easter eggs as off-the-shelf conjuring tricks, including a Matt Smith Doctor Who-style fez and a toy orang-utan that’s a nod to Discworld’s The Librarian. Ralph says that while the series is full of references to Gaiman, Pratchett and Doctor Who, Michael Sheen never complained about a lack of Masters Of Sex in-jokes. “He’d be the last person to make that sort of comment!”

Ralph also reveals that the magic shop counter was another one of his wife’s purchases, bought at a Glasgow reclamation yard.

The Anansi Boys Connection Ralph reveals that Good Omens season two used the state-of-the-art special effects tech Volume (famous for its use in The Mandalorian to create virtual backdrops) for just one sequence, but he will be using it extensively elsewhere on another Gaiman TV series being made for Prime Video.

“We used Volume on the opening sequence to create the creation of the universe. I was designing Anansi Boys in duality with this project, which seems an outrageously suicidal thing to do. But it was fantastic and Anansi Boys was all on Volume. So I designed for Volume on one show and not Volume on the other. The complexities and the psychology of both is different.”

[forgettable-au]

FORGETTABLE-AU (Page 61-64)

* I-I don't think we were talking about the same thing...

[BEGINNING] [PREVIOUS] [CONTINUE]

[mavigator]

i talked about it a little bit already but i have things to say about it. for context, i was born with amniotic band syndrome. the amniotic band wrapped around my left wrist in utero and stunted the growth of my hand. i was born with about half a palm, four nubs for fingers, and a twisted half of a thumb. i can open and close my thumb and pinkie joint like a claw.

yesterday at work i had a shift in the room with 5-10 year old kids. i had my left hand hidden in my sleeve (a bad habit of mine). a kid asked if he could see my hand, and even though internally i was debating running into traffic, i said “sure you can” and showed him my hands. he stared for a moment, looking disturbed, and then said “i don’t want to look at that anymore”. that hurt to hear, but i understand that kids are new to the world and he probably didn’t mean it out of malice. i put my hand away again, told him that it was okay, and that i was just born that way.

he then went on to talk about how he knows a kid with a similar hand to mine and called it “ugly”. i told him that wasn’t a very kind thing to say and that he wouldn’t feel good if someone said that to him, and he replied that no one would say that to him—because he has “normal hands”, and he’s glad he does because otherwise he’d be “ugly”. i tried to talk with him for a bit about how everybody is born differently, but he just started talking about a girl he knows with a “messed up face” and pulled on his face to make it look droopy. i went on some more about how it wasn’t very kind to talk about people that way, but the conversation moved on to something else.

i’ve told my supervisors about it and they’re going to have a talk with his mom. what i wanted to say is this: i’m genuinely not upset with the kid. kids are young and naturally curious, and he clearly simply hasn’t been taught about disabled people and kind ways to speak to/about others. which is why i am upset with his parent(s). i know he’s encountered visibly deformed/disabled people before (he said so himself!), yet his parent(s) clearly haven’t had any kind of discussion with him about proper language and behavior. i knew from birth that some people were just different than others, but my parents still made a point to assert to be kind to and accepting of others. i wonder if adults in his life are the type of people to hush him and usher him away when he points out someone in a wheelchair. that kind of thing doesn’t teach politeness. it tells children that disabled people are an Other than can’t be acknowledged or spoken about; which, to a child, means disability must be something bad.

i’m lucky enough that this was a relatively mild incident, and that i’m a grownup with thicker skin. i’m worried about the other kids he mentioned to me. has he been talking to them this way? when i was a kid, i had other kids scream, cry, and run away at the sight of my hand. or follow me around pointing at me and laughing at me. or tell me i couldn’t do something because i was ugly or incapable or whatever. one time a girl at an arcade climbed to the top of the skeeball machine, pointed at me, and screamed at me to put my hand away and wouldn’t stop crying until she couldn’t see me anymore. another time, a kid saw my hand, screamed at the top of her lungs, and ran into my friend’s arms, crying hysterically about how i was scaring her. that second incident made me cry so hard i threw up when i got home. i can kind of laugh it off now, but having people react to me that way as a child is something i’m still getting over. why do you think i have a habit of keeping my hand in my sleeve? it just irritates me to see children that have clearly not been taught basic manners and kindness—their parents Clearly missed something pretty important .

[craske]

a small prediction, or speculation on where the story in beast yeast might go in the future, based on what weve seen in the story mode in the cookie lab

or, as one would say, fuck you unbeasts your jester

[bixels]

The idea that uni protesters are "elitist ivy-league rich kids larping as revolutionaries" on Twitter and Reddit and even here is so fucking funny to me if you actually know anything about the student bodies at these unis. Take it from someone who's going to one of the biggest private unis in the US, 80% of the peers I know are either from the suburbs or an apartment somewhere in America, children of immigrants, or here on a student visa. I've heard about one-percenter students, but I've never met one in person. Like, don't get me wrong, the institution as a whole is still very privileged and white. I've talked with friends and classmates about feeling weird or dissonant being here and coming from such a different background. But in my art program, I see BIPOC, disabled, queer, lower-income students and faculty trying to deconstruct and tear that down and make space every day. So to take a cursory glance at a crowd of student protesters in coalitions that are led by BIPOC & 1st/2nd-gen immigrant students and HQ'd in ethnic housings and student organizations and say, "ah. children of the elite." Get real.

[egophiliac]

Do yoy like their silly little dance

the inside of my brain at any given moment:

[huariqueje]

Small collection  -  Sven Kroner , 2023.

German, b.  1973  -  

Acrylic on canvas,  110 x 90 cm.

[doctorsiren]

we’ll meet again

[ackerbabezzz]

So yall telling me yall saw this FINE ASS MAN and there are barely any fics surrounding this gorgeous specimen to find.

[glazedcroissant]

Sacred Sword Galaxia

Also, another speedpaint below! :

[ominous-synths-records]

Hello Tumblr! We're so excited by the reception received here that we'd like to re-introduce ourselves! OSR is an online-only used vinyl shop that aims to be your local record store, no matter where you are!

This blog specifically is a special side project of ours, where we post music we've digitized straight from our vinyl inventory that you can't find on traditional streaming sources for various reasons. If you look through our constantly-updating archive, you'll see some surprising names in the bunch as well as any genre and era that you can imagine.

As far as the record store goes, even though we're just a small independent shop (low-key: all one person 90% of the time), we carefully and professionally clean, test, and grade each record that goes up for sale to ensure that you get the best and most accurate depiction of what you'll receive, all at the cheapest rates you'll find on discogs (with hundreds of records under $10). So if you or someone you know are looking to start or add to their vinyl collection, check us out!

Or if you have any questions, send us an ask

And now, back to our regularly scheduled music!

[fuckyeahgoodomens]

(Mickey Ralph, the graphic designer of Good Omens, talks about showing the Bathgate Soho set to fans who won a visit to it :) <3)