#the sound design on this episode is so good

[jigeuminunbich]

it’s the thought that counts | mark lee

synopsis in which your lovely boyfriend, mark, decides to make you breakfast, at least that was his intention.

genre fem!reader, nonidol!au, established relationship, slice of life, and fluff

warnings domestic, pet names (baby), and honestly just mark (making an attempt at) cooking lol

word count 1k

a/n in honor of the new dream x dream episode aka marksung bumbling in the kitchen for our entertainment :D

i.

Sundays were the designated days for you and Mark to relax. Sleep in, laze around, ignore any other human contact, you name it— Sundays were for those exact reasons. With every week after the other coming with some version of turmoil for the both of you, it was owed that you just had a day squared off where you could just be.

Though, you found in your time on this Earth that life had its skilled ways of disrupting your peace. And sometimes it liked to use your ever so lovely boyfriend, Mark, as a pawn in its schemes.

The familiar, unwelcome smell of what you could simply put as burnt wafted into your nostrils, leaving your serene sleep to be quickly interrupted as the stench violently awoke all your senses.

“Mark!”

As if you had been in this exact predicament before, your comforter was flipped off of your once warm and comfortable body. You quickly became acquainted with the unpleasant change in warmth, your drive to figure out why it smelled like a bonfire was taking place in your apartment outweighing your want to be cozy in your covers again.

“Heyyy…” Mark greeted you with an uneasy smile, pausing in his ministrations of fanning away the smoke that emitted from your stove.

“What do you think you’re doing?” Still practically half-asleep, your voice comes off more brash than you intend. The squinting of your eyes from the sharp change in light did nothing to help your case— you must’ve looked and sounded like a dead girl walking.

On reflex, Mark scratches the back of his nape as he gazes down at the problem he’s caused. “I thought I’d wake up a lil’ earlier and cook us some breakfast but—uh— as you can see…”

“Not going too well?” Your eyebrow quirks.

The paper plate Mark was using to disperse the smoke met the counter ahead of him with a pathetic smack, his hands coming to join it as he braced himself against the granite. “Yeah. Sorry to wake you like this… I just wanted to do something different—”

Your features softened at Mark’s clear frustration. It never took much to have Mark back in your good graces. He was just too genuine and honest that you couldn’t help but have your hostility dissipate. “It’s okay, babe. I appreciate the effort— oh wow—!”

The reality of the situation fully settled with you as you gravitated closer to Mark. Charred bacon that nearly melded to the pan of the same color and strewn sunny-side up eggs being the culprits of the unusual start to your day.

“Mark, how can you possibly mess up eggs this badly?” Instinctively, your hand moves forward to push around the sloppy eggs with the spatula that sat with them.

“I don’t know!” His whine comes out muffled from the act of Mark rubbing his hands over his face discontentedly.

“Here,” you bumped your hip into his own, signaling for him to step out of the way and to allow you to stand where he once did.

Your immediate instinct was to rid Mark’s rendition of breakfast into the garbage before stopping by your fridge to gather the ingredients for round two. Now, fully awake, you stood opposite of your stove rhythmically cracking eggs and frying bacon that you were sure to keep a close eye on.

Mark, after watching you gracefully glide around the kitchen, comes to wrap his arms around your waist with his head landing in its rightful spot on your shoulder. You shudder, with his nose and lips brushing against the junction of your neck.

“How did I get so lucky?” Your actions falter for a moment when a brief kiss is pressed to your soft skin and you force yourself to bite back a smile. Refusing to let this situation get too far away from him just yet, you speak through the fluster your boyfriend has brought upon you.

“The universe knew you needed a decent cook to balance out the fact you should never step foot in a kitchen, ever.”

Light laughter shudders through your body as you can basically picture Mark’s offended expression towards you, you try your best to keep your focus on the stove opposite of you as he leans away from your body in disbelief.

“C’mon, I didn’t do that bad!” Mark insists, a whiny twinge in his voice.

“Oh, I’m sorry. Were you intending on serving me bacon or charcoal?” You deliver a blow, momentarily drawing your attention away from the food to gage his reaction. A snort ripples through your chest at his unenthusiastic response to you, his eyes cutting into thin lines.

“Ha ha, very funny,” he sneers, constricting you closer to him as your punishment. “I was intending on make my beautiful girlfriend some breakfast. Isn’t that enough?”

You hum, becoming nearly pudding in your boyfriend’s hold. “I love you, baby. But, unfortunately, it is not.”

Mark sighs, pulling his best pout as his grip loosened on your waist. “Fine, fine. I’ll leave you be, then…”

“Good. I don’t want your lack of talent in the kitchen rubbing off on me.” Assuming you’ve had the final word, you turn your attention back to the food again— giggling to yourself as you can feel Mark’s eyes burning into you once again.

Mark takes advantage of the fact you’re distracted and tickles right under your arms. Leaving you to jolt and burst into immediate laughter that pulls straight from your stomach.

“Mark!” You whirl around and smack against his chest.

He laughs along with you, holding your flailing wrists back from further thwacking him. “You were saying?”

“That you’re a wonderful cook?”

“That’s what I thought.” Mark graces you with a peck on the cheek before finally giving you the space to pick up where he abruptly left off, backing up to the refrigerator to rifle through it.

“Did you want coffee or tea? Oh shoot, I forgot we got orange juice too…”

You ponder for a moment, skillfully flipping slices of bacon. “Coffee is fine.”

“Alright, one cup of coffee coming right up,” Mark announces before humming to a random song as he enthusiastically began making your order.

As you inevitably smile and giggle at your boyfriend, you suddenly feel grateful for the uninvited start to your morning and grateful for the universe’s (& Mark’s) unprecedented ways.

anotha a/n:

this is 100% what this was inspired by (i only have the barbie and ken vers lmao) BUT YEAH

© jigueminunbich 2024

[that-ari-blogger]

No Cat Can Walk Out Of Her Own Story (Once Upon A Time In The Wastes)

To those who have read my posts before, you may have picked up on my complicated relationship with the concept of genre, in that I don’t really believe in it.

Don’t get me wrong, genre is definitely a thing, it just exists from the perspective of a reader, not a writer. Genre allows audiences to categorise their preferences, and allows librarians to categorise their catalogues. But from the angle of a writer, I find that trying to stick to a genre often leads to restrictions that limit creativity.

The tricky thing is, this is my opinion. Art is not science, and does not jell at all with ubiquitous statements. There is evidence to back up my claim, but at the same time, evidence that completely contradicts it. Funnily enough, She-Ra and the Princesses Of Power count as both, especially Once Upon a Time in the Waste.

Let me explain.

SPOILERS AHEAD (She-Ra and the Princesses Of Power)

First, a few framing devices for this post.

I have been analysing the series as a whole through the lens of tragedy, which isn’t quite a genre, but it’s close enough that I feel the need to explain myself.

Tragedy is a vibe. It is an end goal for the story, a trajectory that it will try to hit. She-Ra is most definitely on this trajectory for most of its runtime, which plays into its themes of trauma and the cycle of abuse. The core question of the story is whether love will be enough to overpower that trajectory. Agency vs fate, like Romeo and Juliet.

A genre, meanwhile, is a collection of tropes, which can include a plot structure, but it doesn’t have to. They are different concepts that relate to each other, and overlap occasionally, but they are distinct.

Now, genre is, first and foremost, a literary tool. Tropes give expectations and implications, and often have meaning ascribed. So a story written in a specific genre can make use of that for its own purposes.

Part of the reason I am so chwit-chwat about my position on this is that I have a friend who excels at writing genre stories, and that has benefited their work immensely. Their ability to subvert expectations is predicated on the groundwork that they are writing within, that being the framework provided by each genre.

Cliches have a bad name, but there is genuinely a place for stories that are exactly what you expect. Not every art piece has to be thought provoking. Sometimes you just want to sit down, relax, and watch an adventure, and the Guardians of Ga’Hoole movie is engineered to suit your every need. If you want to think about what you are experiencing, read the Guardians of Ga’Hoole books, because they really play around with the genre.

So, what is my point?

Well, I will come back to this at the end of the series, but I think She-Ra is on both ends of a spectrum, it can be classified as a ton of genres, but also none at all. Once Upon a Time in the Waste is a microcosm of this.

So, I’m going to argue here that this episode is a western story. As in, the archetype with lone wanderers and such. But I’m also going to argue that it isn’t.

Buckle up, this is going to get complicated.

Westerns are technically just stories set in outback America in the late 1800s. But we can all agree that there is more to the genre than that. Duels at dawn, train heists, riding into the sunset. Think Rango, the third Back to the Future movie, and the 1960 version of The Magnificent Seven film. There is a framework to play around in.

The genre doesn’t so much carry the theme of freedom as collapse under its weight. Protagonists in these stories are usually on the run from the law, or seeking a new beginning, and plots have a tendency to bear a distinct anti-colonialist message. Mostly. The golden age of the genre was between 1940 and 1960, and modern writers have, for the most part, got better at writing this over time.

So, this episode has an implied theme of freedom, that goes with series as a whole’s discussion of agency. It also draws on the idea of a new beginning and the promise of an empty world. All it has to do is make itself clear, and it does this off the bat with two of the most western shots ever to western.

The amount that is being communicated by these two shots is astounding. Obviously, the vultures are circling Catra, and she’s watching them. Catra is aware that she is at rock bottom, and that death is closing in on her. Or at least, she thinks she is.

However, the worldbuilding element is there as well. Multiple moons instantly signals that this is a fantasy setting, and if you look closely, those aren’t actually vultures.

So, this is a western story with a bit of that fantastical flavour, right? Or is it a fantasy story with a bit of western flavour? Yes. The answer to both of those questions is “yes”.

This episode is told from Catra’s perspective, and I think there is a bit of unreliable narration going on here. Not in the sense that events aren’t playing out as we see, but in the way that the cinematography surrounding those events influences us. This might not be a western story at all, those birds might have just found a column of air, but doom and gloom is what Catra sees, so it's what the audience sees.

On a side note, Catra’s dialogue in this episode is written like she has spent the last month listening to nothing but Linkin Park’s Crawling In My Skin on repeat. I have a deep love for angsty emo storytelling, but I think it is a stroke of genius to translate that exact energy into something so aesthetically at odds with being emo.

“You know what? It doesn't matter. Nothing matters anymore. You know what I see here? All my hard work, ignored because of one mistake. My dreams, turning to dust in front of my eyes. But mainly I'm looking at that?”

This is Catra’s first little speech of the episode, and she gets a few of these. Here, she is venting at Scorpia, which I will comment on in a bit, but it is important to note that Catra fully accepts responsibility for her fate. Yes, the world was against her, but she was the one who messed up. Which is interesting.

In my reading of this story, Catra has intellectually recognised that the Horde was abusive, but emotionally, not so much. She convinced herself that if she was perfect, she could just coast above, because the moments in-between the abuse were half decent. But that wasn't possible.

I feel it is important to understand that Catra doesn’t crave safety, she craves the feeling of being safe. She is chasing the high of security, and she was able to push through Shadow Weaver’s abuse and to ignore Hordack’s obvious red flags enough to obtain that feeling from authority. The high never lasted, but she has convinced herself that she could have made it work.

Back to the western thing. Protagonists in western stories are rarely good people, although they aren’t usually villainous. They are heroes, but their defining character trait is that they were capable enough to take control of the situation. Sometimes, they will save a village from some bandits, but half the time this is to save a love interest or because they have a grudge against the bandit leader or even just because the village pays well. Morality isn’t really a thing in western films.

In other words:

“There are only two rules in the Crimson Waste. One, the strong make the rules-” (Laughing) “So, here's the thing. I've done this. The whole “threatening people” bit, the intimidation. I've been there. And I just don't care anymore. Some people have a bad day. I've had a bad life. If I want something, it's taken from me. If I win a fight, I lose the war. Threats only work on someone who has something to lose. But me? I've already lost it all. And you can't be any good at this, because you just let yourself get distracted.”

What I said about Catra from before works here as well. This also meshes rather nicely with the western protagonist. Catra has rocked up out of nowhere and demonstrated her capability.

However, that capability lies in force of personality, and in her allegiance with Scorpia, someone who exists to prove Catra wrong. Catra still has her friendship with Scorpia, and thats what this episode exists to show her.

This episode actually show Catra getting to be happy with herself and the world around her, because her worldview is rewarded. She has no higher authority, she can be mean in the way that the Horde has taught her to be, and it pays off.

Granted, it’s not exactly healthy, but it's better than what she had before.

So, Catra can feel safe, even in a place that is objectively more hostile to her than anywhere else. The ground tries to eat her, multiple times, but she is fine, she has her force of personality, and she has Scorpia.

“We make a good team, that's it.”

Scorpia makes Catra feel safe, she protects her, and she raises her up to make her own choices. The only other person that has done that, was Adora.

Before I continue, however, I feel the need to stress something. How Catra treated Scorpia up until this episode wasn’t great. It will get worse after this episode, and I will talk about that when I get there (If you know the show, you know which episode will prompt my full diagnoses), but for now, Catra hasn’t seen Scorpia as an equal until this point.

This is based on her upbringing. Whether you like her as a character or not, it is hard to disagree with the fact that Catra is mean. But that comes from a place of fear and of discomfort. Catra has no idea how to socialise with anyone, because she has never had a parental figure to show her. She was nice to Adora, and Adora left, so being nice was clearly not the right decision, in her mind.

On a similar note, it never occurs to Catra that anyone might like her. As in, she assumes at all times that people are trying to one up her or outmanoeuvre her. She was betrayed by Adora, in her mind, and Shadow Weaver never treated her with any dignity. Why would anyone help her? She has to force her way through everything.

Except, here is Scorpia. Scorpia, who offers a guiding hand to Catra to save her from the quicksand, even when it would be wiser to let Catra die and take over. Scorpia, who will follow Catra into the desert. Scorpia, who makes Catra feel safe and asks nothing in return.

The episode even gets in the duel at midday and the standoff with the bandits, with the reward for victory being more underlings. Catra builds herself a support network.

The sartorial detail of the jacket. Catra starts the episode clinging onto the cloak from the Horde. But it's too big for her. She then sheds it and steals the jacket when she starts fitting into the Horde and finding belonging. The jacket fits her perfectly, and she looks really good in it. She then offers a similar jacket to Scorpia as a gesture of friendship. "I belong with you."

“A toast to driving Huntara out of the Waste! A toast to finding all this new loot, huh? And a toast to Boss Catra, best leader we've ever had!” “Scorpia! A toast to Scorpia!”

So, about that new beginning then. I spoke at length in a previous post about how character development and allegiance relate to location. Adora changes location and can develop as a person. Shadow Weaver makes the exact same decision, and refuses to change, mostly. Now we have Catra, who has likewise shifted scenery, and she is making big strides in terms of relationships.

There are people who cheer her name unprompted, people who will keep her safe. This is everything she wants, right? Hold this thought.

Also, correct me if I’m wrong, but this is the first actively altruistic thing Catra has done. Yes, she shared the blanket, but that felt more like paying back a debt than actual kindness. This feels like growth, like Catra is finding a new place to start.

Catra's body language in this tiny scene is really well done. She starts off clutching the sword like a teddy bear, like she is taking comfort in having it. Then it falls to her side as Scorpia gets through to her and she subconsciously stops needing to have that victory.

“We've got the most important thing right here. You heard that hologram. This is the key to the whole planet. When I bring this back to the Fright Zone, Hordak will see me for what I'm worth and I'll be back on top.” “Or, you know, counterpoint, we don't go back at all.” “What? Why wouldn't we go back?” “Uh... Because you hate it there?” “I don't.” “Hear me out, okay? Within like, a day, you've defeated the gangs ruling the Crimson Waste and made yourself their leader. This is the happiest I've ever seen you. Scratch that. This is the first time I've ever seen you happy, period. So, why would we go back? Let's stay here. Forget Hordak. Forget Adora. Forget all of them. We could rule the Crimson Waste together, just the two of us. We could, you know, be happy.” “I… I don't… I have to go check on the prisoner.”

I think Catra actually considers this option. Again, the idea that her emotions and her thoughts are at separate levels of understanding comes back. But in a very real sense, this is what Catra wants, she has her life’s goal. So why can’t she stay?

For that, we need to talk about why Catra and Adora are such good foils.

Catra and Adora are the two tragic heroes of this story, but they exhibit their hamartia in completely opposite ways. For clarity, hamartia is another term for a heroic flaw, the thing that causes things to go wrong. She-Ra has a really interesting way of writing that, simplicity.

Every character in this story has a greatest strength that is also their greatest weakness. Glimmer is unyielding, which means her courage is second to none, but her adaptability is lessened. Huntara is both idealistic and cautious, when balanced these traits carry the crew, when unbalanced, these traits cause trouble.

Adora and Catra are opposites. Adora thinks incredibly quickly, which means that she is a remarkably good short-term tactician, but she struggles to think on the wider scale. Catra, meanwhile, is always planning five or six steps ahead of everyone else, but she can’t see the moment for what it is.

However, there is one more facet to these two, and it is the thing that joins them. Both Catra and Adora have a binary worldview. Something is either good or bad, someone is either a hero or a villain. Or, in Catra’s case, affection is exclusionary.

“Catra, Shadow Weaver is in Bright Moon.”

Catra is wounded by Shadow Weaver, more than she can possibly imagine. She wants to feel safe, and even while she is in the Crimson Wastes, she is not immune from her abuser’s ability to take away her security.

The news that Shadow Weaver is with Adora brings back all of Catra’s insecurities. It reminds Catra that she isn’t good enough, and that she can’t be safe. Most of all, it coalesces the two people who left Catra into one force, the Princess Alliance. Now, there is a single entity that Catra can fight, and her desire to feel safe means that she cannot think clearly until that entity is removed.

The final sequence of the episode is so unbelievably well written. The heavy breaths and deep, foreboding music drowning out everything. Pair that with the revisiting of the episode’s early shots, but this time with a Dutch tilt, and you have a sequence of a character in inner turmoil.

This could be a western story. This could be a tale of two outcasts seeking out a living in the vast wilderness, disappearing and being happy. But Catra can’t ride off into the sunset.

When Catra looks up, there are tears in her eyes, and the camera shifts to punctuate her words and decisions by zooming in, until all you can see are Catra’s eyes, and the tears that weigh them down.

Speaking of trauma, this episode is also the introduction of Mara, and that happens in a really interesting way.

The comedy of Adora's wacky expression in this shot is pulling double duty here. It's funny, but its emphasising the fact that Adora's apparent success in finding answers is being undercut.

“Of course it's on a loop. Of course it is. Because why would a hologram ever give me a straight answer? Solve a puzzle. Train. Let go. I do everything they tell me, waiting for answers, And all I'm left with is... is... Why was I taken from my family? Why was I forced to become a soldier? Why did I come here if this was nothing but another dead end?”

Aimee Carrero is officially a god, because the line delivery of this is gut wrenching. This season has seen Adora spiralling downwards, and Catra gradually building herself up. That’s why this episode cuts between them both, its juxtaposing their opposite arcs.

So, here is Adora, shouting at her last hope of answers, and getting no response.

I want to point out that the monologue is the series’ thesis statement. The cyclical thing, the agency, the trauma. This is everything rolled into one.

The loop thing is a metaphor for the whole series, a metaphor made clearer by She-Ra itself.

When Mara is introduced, she is transformed, and she is a failure. She is the warning that Light Hope gives to Adora. When we meet her in this episode, we get that same image.

“I am Mara, She-Ra of Etheria, and I am gone.”

It towers over Adora, looking down on her. Adora is beneath the vision of even a failure like Mara. At least, until she lets go of the sword.

This is Mara. She’s small, about as tall as Adora; she’s wounded and dying; and she’s sorry.

“I couldn't stop them before, but I can now. Hiding is our only option. Maybe it's been a week. Maybe it's been thousands of years. I never wanted to be a hero. I won't be remembered as one.”

Mara’s character thematic can be summed up by one word: Legacy. Not how she will be remembered, but what effect she will have on the future.

Again, she is wounded, but she has managed to lock away an entire planet. Mara saved Etheria, once upon a time. I’d put that as pretty heroic.

But this also spins the perception of Light Hope. Adora can now see the alternate side of Light Hope’s words, and she can see the lies and the mistruths. So, by leaving a message, Mara pushed Adora away from destroying the world. She created a failsafe for Etheria, by telling the next She-Ra to think and take their own agency.

Mara was living in a tragedy, her fate was to die, but she twisted it. She broke free, and she saved people. I wonder if that idea will be revisited.

Final Thoughts

This episode could have been a season.

The second and third seasons of She-Ra are short, and I think the series would have been more interesting if they had been linked. Drop a few of the episodes, relocate some others, and make the whole thing about the Crimson Wastes. You get more time to Catra’s rise, and the fall feels more impactful.

I am mostly joking here. The series we got is the series we got, and this blog doesn’t analyse what could have been.

To that end, this episode falls short for me, because there isn’t enough of it. Catra’s improvement lasts for half an episode, and I think that if it had had a little more time to breathe, the gut punch at the end would have hit so much harder.

That is my critique, it’s a good episode, but it’s paced a bit too fast for me. You are welcome do disagree in the replies.

Next week, I will be looking at the absolute highway to hell (in a good way) that is Moment Of Truth, so stick around if that interests you.

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[sga-owns-my-soul]

just shaved a clients cat and had to keep my cool bc they’re were playing the pilot of sg1 😂 i heard the wormhole noise and i was like damn that sounds like stargate wormhole and then heard something and looked over and i was like shit that’s sg1! and then had to Not Fangirl and instead be Professional and do my job but oh my GOD new favourite client 😂😂😂

[t-u-i-t-c]

chapter xxvi

[theclockistickingwrite]

“The sword comes down”

[genericminecraftpotato]

I love looking through the tmagp tag on tuesdays and seeing the early access people going absolutely insane but they're not allowed to tell us why yet

[diseasedcube]

OMG GIRL HIIIIII

Is it...getting hot in here, or is it just HER 😩💦

[tonyglowheart]

okay so turns out we only finished 2 episodes of Sandman yesterday lmao not 3

so we finished ep 4 today

and. hey so apparently it's supposed to get good at some point right... :')

[transmascnepetaleijon]

i was gonna complain that stranger things didnt use any heavy metal songs when eddies doing something but then i realised if they had theyd ruin it. sorry for caring about stranger things on main this seasons sound design is just So Bad to me

[fuckyeahgoodomens]

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

[sabertoothwalrus]

so I’ve been gaining a lot of insight into the animation industry recently, especially in regards to pitching & the creation of new shows. There’s a few ways to go about it.

First, there’s pitching to a studio. When you pitch, it has to be SHORT and CONCISE. You may write a lovingly detailed pitch bible that perfectly breaks down episodes and characterizations, and it might barely even get read. First impressions, first impressions, first impressions!

Most peoples’ first projects don’t get picked up. I’ve heard a few stories from directors that said they tried pitching a story they’d had for years, which got rejected, to then spend a week or even several hours in their car coming up with a new idea, only for that to get greenlit.

But that’s not the end of it. Just because a show gets greenlit, doesn’t mean it will ever get finished. There’s lots of things that can happen. Sometimes, unexpected major world events (like… a global pandemic) can cause projects to get chopped. Sometimes, a CEO change or studio merge means a single person can decide a project “no longer fits with the company’s brand.” Sometimes, the one producer that was rooting for your project gets laid off, and no one else cares enough, so it gets shelved. Sometimes, a streaming service decides to create an animation department, and then they decide they don’t want it anymore. Sometimes, the studio will be simultaneously be developing another project that was too similar to yours and they just didn’t think to tell you until they decide yours is the one with less potential.

On top of that, almost everyone in the industry is saying that “studios just don’t pick up original content anymore.” Studios want something they can franchise, something that will bring in money. New content is risky. Established fanbases are safer.

However! Studios can still be a very good thing. They can be unionized. They can provide better benefits and resources. They can have connections and infrastructure and a larger volume of workers. At a studio, you can divide the labor and produce more in less time. Longer episodes, longer seasons, more consistency in quality.

But this comes with all of the disadvantages of having more in the kitchen.

The alternative is indie animation.

With indie animation, you have total freedom. Full artistic control. It doesn’t even matter if your idea sucks ass, because there’s no one to tell you you can’t make it. You could make it anyway, and you can make it whatever you wanted.

The thing is, making animation is hard. In my production class last semester, the average maximum animation one person could make in that timeframe was 30-60 seconds, and that’s not even counting background design, sound design, or cleanup/color. To make a 5 minute animated short, you should probably have at least 5 people.

And it is CRUCIAL you have a production manager. Ideally someone who’s not already doing art for the project. Most projects without a production manager will fall apart pretty quickly. Once the adrenaline and impulse-fueled motivation wears off, you need someone to hold you accountable and enforce deadlines and proper time management.

Speaking of time, that’s also hard to get. The more people you have, the more likely schedules won’t line up. Most people will have school, or other jobs.

And it costs MONEY!!!!!! You either have everyone work for free and volunteer their time & energy, or you establish a business as a proper indie studio, with people who may or may not have experience on how to handle paying someone else’s salary. And the money has to come from somewhere, so you have to rely on crowdfunding like patreon or kickstarter. (This, by the way, is why I could never fault an indie animation for releasing merch with their pilot.)

And like, maybe you wanna do a series, and all your friends agree to volunteer their labor and time to make the first episode, but it was unanimously not sustainable. Deciding not to produce a second episode until you can raise enough money is not being suddenly greedy, it’s attempting to compensate people rather than expecting them to be continuously taken advantage of.

You have to consider your output as well. There are some outliers like Worthikids, who afaik does all his animation himself, and afaik can work on it full-time thanks to his patreon subscribers. And he still has only produced a total of 30 minutes of animation (for Big Top Burger specifically) in the past 4 years. This is an IMPRESSIVE feat and this is with using a lot of 3D as part of his pipeline!!

Indie animation also has the complication of being more accessible for fandoms. When you’re posting your Official Canon Content on youtube, it doesn’t look a lot different than the fandom-created video essay in the sidebar next to it. What’s canon vs what’s fanon becomes less distinguishable. The boundaries are blurrier. When the creator is just some guy you follow on twitter, it’s easier to prod them for info regarding ships and theories and word-of-god confirmation. They don’t have a PR team or entire international tv networks to appeal to. And this is when creators get frustrated that their fans snowball and turn their creation into something they don’t recognize (and no longer enjoy) anymore.

So it’s tricky.

Thankfully, the threshold to learn animation is fairly low nowadays!! There are TONS of resources online to learn it on your own without forking over a couple hundred thousand to a private art college. There are conventions and discord servers and events where you can network, if you know where to look.

I know it can seem discouraging in the face of capitalism, but I think that’s all the more reason why it’s so important to BE DETERMINED about animation!! We’re already starting to see the beginning of an indie animation boom, and I think it’s a testament to humanity’s desire to tell stories and create art. Even if there’s no financial gain, we do whatever it takes to tell our stories anyway.

[t-u-i-t-c]

i feel like i've been watching this show for a thousand years

[chromatic-corrosion]

(part 1) Character/Show information found on Gooseworx's tumblr

I went into Gooseworx's tumblr and made a list of all the info found on there so far.

Caine:

Caine named himself before deciding that it's an acronym that stands for Creative Artificial Intelligence Networking Entity (he thinks it makes him sound professional)

‘’[Caine] does not have an age, as he is an AI.’’

Apparently, Caine is likely the best singer out of everyone in the circus.

Caine would own a circus peanut shotgun.

Caine can’t grasp the concept of irony.

Caine is not affected by “this statement is false”

if Caine could remove his clothes, there’d be nothing underneath. His clothes are his body.

Caine constantly gives silly nicknames to everything.

Caine would only bite his eyes or tongue if he thought it’s funny. Otherwise, they clip through his teeth

the restaurant that Caine was in with Bubble is “one of Caine’s special realms.”

Bubble:

Bubble speaks in reverse once in episode 3.

Bubble is a much simpler AI created by Caine

Apparently, Bubble is the biggest slut.

Bubble is ‘’Caine’s little hype man’’

Bubble likes being popped.

Bubble is a boy

Pomni:

Pomni’s hat is a part of her body

Pomni does not like being touched

Pomni’s first design looked liked a frog

Pomni’s reaction to herself in the mirror isn’t a positive reaction

Apparently, Pomni’s hair is black.

Pomni is good at accounting.

Ragatha:

Ragatha gives the best hugs

Ragatha has been in the circus the second longest.

Ragatha likes horses.

Ragatha can see through her button eye

Jax:

‘’There’s a particular character who hasn’t been revealed yet who’s practically a self-insert.’’ (He’s the mean one…Jax?)

Nobody likes Jax

Jax doesn’t have a tail.

Jax deserves to be trapped in the circus the most

There’s nothing heroic about Jax.

Jax is morally the worst character in the show.

Jax didn’t enter the circus at the age of 14.

Jax didn't react well when he first entered the circus

Jax is afraid of corn because it reminds him of something called 'the farm’. (this turned out to be a lie)

Jax mainly bullies the girls because he has issues he hasn’t worked out with himself yet.

Gangle:

Gangle likes to draw, specifically anime.

Gangle can walk on water, but only during a full moon. (this turned out to be a lie)

Gangle’s favourite anime is Azumanga Daioh.

Gangle has a body pillow with a character on it.

Gangle watched One Piece, and her favorite character was Chopper.

Kinger:

For some reason, when Gooseworx was asked to describe the next character (who we now know to be Kinger), she used the word ‘’dad’’

Kinger is not British.

Kinger is the tallest and oldest

Kinger knows how to play chess.

Zooble:

Zooble almost gets no screen time in the first two episodes

Zooble has a 'zooble box’ of extra parts in their room, and it has no end.

Zooble does not like hugs

Zooble has been in the circus the second shortest.

Zooble is very grouchy and irritable.

Zooble would smoke weed.

Zooble is the worst at giving hugs

Zooble is constantly trying out different parts.

Zooble was a tattoo artist at one point.

Zooble most likely dyed their hair in the real world.

the Sun & the Moon

The Moon (and the Sun) is an AI "like bubble"

the Sun can talk too

Queenie

The black queen chess pieces name is Queenie

Queenie being a black chess piece and Kinger being a white chess piece has no relevancy to their relationship. It’s only a design choice.

Queenie and Kinger aren’t siblings.

multiple characters

How each member of the cast would react if you called them 'adorable’.

Ragatha: oh! Thank you so much!

Jax: Well that makes one of us.

Gangle: oh…

Pomni: Uhhhhhh… thanks I guess?

Zooble: Shut up…

Kinger: Heh! 

Caine: You’re absolutely right!

Bubble: *says every slur*

Jax is the youngest member of the circus, with Zooble being the second youngest as they are half a month older than Jax.

Nobody in the circus is truly sane

the ages of all the humans.

Pomni - 25

Jax - 22

Ragatha - 30

Zooble - 22

Gangle - 26

Kinger - 48

The performers can feel pain

Every character has a reason for the way they act.

We’ll get to see the characters' rooms eventually.

Ragatha can play the cello and Zooble can play drums

None of the characters have bones, but they do have a visible skeleton when they’re being electrocuted.

Other

There wont be any singing, only instrumental songs

There are “many” that we don’t know of.

The typical episode length will be 21-25 minutes.

There won’t be any romance

‘’the entire show is about exploring these characters on a much deeper level.’’

Abstraction can’t be undone.

The abstracted all look the same

Someone asked who was closest to abstracting besides Kinger, in response Gooseworx said ‘’You wouldn't believe me if I told you.’’

“This show isn’t going to be very suitable for young kids, especially in the later episodes.’’

Future Episodes

There’s “technically” a worm in episode 2.

There is an episode that heavily features Kinger.

Some episodes are a '1’ on the horror scale, some are a '6’. all of the following

"If it were to get made into a full season, yes each character gets their own little episode."

all of the following episodes in one word.

boy

damn

oh…

haha!

guns

huh?

OH

what…

On 7th of November, Gooseworx said "the plan is eight episodes total, one season".

Note that some of this info may have changed since posting. Some may change during the course of the show, and some may be jokes and lies. Please let me know if there's anything I missed!

[whimsicalcotton]

finished the imperfects today and i’m reeling

[paper-mario-wiki]

Ok I usually agree with you on things but even as someone who didn't like tadc, I don't see the issue with selling merch?? Lackadaisy, hazbin/helluva boss, monkeywrench, literally almost every indie project does that, it's how they get a good amount of their funding, why is that itself an issue?

alright this'll be the last question i answer on it because we're officially at the point where people are saying "oh yeah, well what about this?" in reference to stuff i already spoke about, so i'll use this as a summary:

I was asked what I think about The Amazing Digital Circus a few weeks ago, and as a show, I think it's pretty inoffensive. I think the premise and character design is pretty generic, and I think the plot is definitely trend-riding, but ultimately the pilot had some funny jokes and pretty good visuals.

I added an addendum later on to follow up in saying that my perspective has shifted to one of disdain, because I'm sick of seeing it everywhere, and I'm tired of people saying it's already a masterpiece despite the minimal legwork it has put in so far as a story. This is compounded by the fact that the studio company behind it, Glitch Productions, is being unrelentingly commercial with it, to the extent that there was merch designed and available the same day the video itself went live, especially since the pilot itself was never even set to get a sequel, let alone a "series", despite the fact that it is being advertised and sold as a series. This left a bad taste in my mouth, as in my eyes it's become a pretty hollow flavor of the week fandom with a hype culture that people are conflating with actual quality.

Someone asked about the nature of the "no confirmed episode 2", which I later provided some context for in the form of a screenshot from an article where staff of Glitch Productions came forward and said pretty unambiguously that there wouldn't be more episodes unless people bought enough merch. This isn't a horrible sin by itself (Toby Fox famously sold merch for a demo of Deltarune), but the fact that merch sales are being treated like a crowdfunding campaign, with the threat of cancellation very unambiguously behind the "encouragement to buy merch in order to help greenlight the show", is a tactic that feels gross to me. Crowdfunding itself is okay, but the fact that there is no set goal in place, no "if we sell x amount of shirts the show will be get an entire season!" or anything like that, sounds a lot like "if you do not buy enough acrylic charms and tshirts then this show you like will not continue. how many have to be sold? we'll let you know when we reach the goal".

That is, in its entirety, the discourse, AKA my opinion that people kept asking for clarification and justification for. I personally really don't like The Amazing Digital Circus for its lack of depth combined with its ruthless commercialism. I find it repulsive in that way. That's it.

[piratecaptainscaptainpirates]

Today I rewatched all of season 2 with a friend who hadn't had the chance to see it, and it's really true that if the pacing seemed off to you as it aired, try watching it altogether. It flows so well when you're not spending a week in between episodes hyping up theories and over-analyzing throwaway lines.

The rewatch hammered home how lucky I feel to have this show! It's so good, friends. I'm so incredibly grateful we got this show.

Some of the little things that I didn't appreciate on first watch that I just adored on a rewatch:

How well Archie and Zheng Yi Sao are immediately integrated into our cast. They had limited time and their writing is really cleverly done to endear us to them immediately.

Every Buttons and Auntie interaction, absolute gold

Surprisingly (for me), Ed and Izzy's interactions in the first two eps. It's just so terminally unhinged. The way Izzy says he "has love" for Ed like he's ashamed of it, like how you have a sickness. "Do you think I wouldn't know the smell of my own rotting former first mate?" The way Ed handed Izzy a gun to try to get him to shoot Ed, but Izzy tried to shoot himself instead and was symbolically reborn. It's good shit.

The Gravy Basket scenes really rewards a rewatch. Try to pick up on clues something's up before Ed realizes, it's great fun.

The way Stede's devotion to Ed is immediately palpable.

Ed and Stede are so soft and cute for each other dear lord. just gets better and better.

The musical choices are top notch, especially in those first three episodes. The sound design in general is exceptional.

The way this show is shot, dear lord. There is so much care in every shot, it doesn't look like a basic TV show.

Every actor in this show is giving it their all. Rhys and Taika are phenomenal, of course, but Con is amazing, Matt Maher makes me love Black Pete more with every rewatch, David Fane is perfect, and Samba Schutte is so incredible. Roach doesn't have a lot this season but Samba gives every line 110%.

Such! A! Good! Show!! If you didn't like the pacing on first watch, take my word for it, try a rewatch.