#they are doing something truly amazing

[asteracaea]

i'm really pleasantly surprised at how much i like taylor's version of i wish you would! usually with my very favorite songs i'm much more sensitive to and intolerant of the minute differences, but it's a really really good duplicate!

[ingravinoveritas]

Lovely new article about Michael in Paste magazine. Article is behind a paywall, so here is a transcription (with thanks to the person on FB who transcribed it, and the parts in bold are my own emphasis).

There’s so much to love about Prime Video’s Good Omens. A delightful adaptation of the popular Neil Gaiman and Terry Pratchett novel of the same name, the series is romantic, thoughtful, hilarious, and heartfelt by turns. The story of the almost-apocalypse and what comes afterward, it wrestles with big concepts like destiny, free will, and forgiveness, all framed through the lens of an unorthodox relationship between an angel and a demon whose love for one another is a key to saving the world.

As anyone who has watched Good Omens already knows, nothing about this series works without the pair of lead performances at its center. Stars David Tennant and Michael Sheen—who play the demon Crowley and the angel Aziraphale, respectively—have the kind of lighting-in-a-bottle chemistry that’s the stuff of legend, and their characters’ every interaction conveys both their deep affection for one another and the Earth they’ve made their home. Their romance is the emotional linchpin around which most of the series turns, and their heartbreaking separation in the Season 2 finale is so devastating precisely because we’ve seen how necessary the two are to each other’s lives.

But it’s Sheen’s performance in that final scene that really twists the knife. As Aziraphale’s face crumples following his and Crowley’s long-awaited kiss, the actor manages to convey what feels like every possible human emotion in the span of less than thirty seconds as the angel realizes what he has both had and just lost. The moment is emotionally brutal to watch, particularly after sitting through five and a half episodes of Aziraphale looking as lovestruck as the lead in any rom-com. Sheen makes it all look effortless, shifting from giddy joy to devastated longing and everything in between, and we really don’t talk enough about how powerful and underrated his work in this series truly is.

Though he’s half of the central duo that makes Good Omens tick, Sheen’s role often tends to get overshadowed by his co-star’s. It’s not difficult to see why, given that Tennant gets to spend most of the show swanning around in tight trousers looking like the Platonic ideal of the charming bad boy, complete with flaming red hair and dramatic eyewear. Tennant also benefits from Crowley’s much more sympathetic emotional arc. I mean, it’s hard not to love a cynical demon with a heart of gold who’s been pining after his angelic best friend for literal millennia even after being cast out from Heaven. Of course, viewers are drawn to that—likely a lot more easily than the story of an angel who’s simply trying the best he can to do the right thing as he wrestles with his role in God’s Ineffable Plan. Plus, let’s be real, Tennant’s sizeable Doctor Who fanbase certainly doesn’t hurt his character’s popularity.

As a performer, Sheen has a long history of playing both real people (Tony Blair, David Frost, Brian Clough) and offbeat villains (Prodigal Son’s Martin Whitly, Underworld’s Lucian, the Twilight Saga’s Aro). In some ways, the role of a fussy, bookish angel is playing more than a bit against type for him—Gaiman himself has said he originally intended for Sheen to be Crowley—but in his capable hands, Aziraphale becomes something much more than a simple avatar for the forces of Good (or even of God, for that matter). With a soft demeanor and a positively blinding smile, Sheen’s take on the character consistently radiates warmth and goodness, even as it contains surprisingly hidden depths. The former guardian of the Eastern Gate of Eden who gifted a fleeing Adam and Eve his flaming sword and befriended the Serpent who caused their Fall, Azirphale isn’t a particularly conventional angel. He enjoys all-too-human indulgences like food and wine, runs a Hoarders-esque bookshop that never seems to sell anything, and spends most of his time making heart eyes at the being that’s meant to be his hereditary adversary.

Given the much more difficult task of playing the literal angel to Tennant’s charming devil, Sheen must find a way to make ideas like goodness and forgiveness as interesting and fun to watch as their darker counterparts. It’s a generally thankless task, but one that Sheen tackles with gusto, particularly in the series’ second season, as Good Omens explores Aziraphale’s slowly evolving idea of what he can and cannot accept in terms of being a soldier of Heaven. His growing understanding that the truth of creation is colored in shades of grey and compromise is often conveyed through little more than Sheen’s deftly shifting expressions and body language.

Our pop culture consistently struggles to portray the idea of goodness as something compelling or worth watching. Explicitly “good” characters, particularly those who are religiously coded, are frequently treated as the butt of some sort of unspoken joke they aren’t in on, used to underline the idea that faith is a form of naivety or that kindness is somehow a weakness. For a lot of people, the entire concept of turning the other cheek is a sucker’s bet, and believing in something greater than oneself, be it a higher power or a sense of purpose, is a waste of time. But Good Omens is a story grounded in the idea that faith, hope, and love—for one another, God, and the entire world—are active verbs. And nowhere is that more apparent than in Sheen’s characterization of the soft angel whose old-fashioned waistcoats mask a spine of steel and who refuses to give up—on Crowley, on humanity, or on the idea that Heaven is still something that can be saved.

Though he and Tennant have pretty much become a matched set at this point (both on and off-screen), Sheen’s performance has rarely gotten the critical accolades it deserves. (Tennant alone was nominated for a BAFTA for Season 2, and Sheen was categorized as a supporting actor when the series’ competed in the 2019 Saturn Awards.) But it is his quiet strength that holds up so much of the rest of the show around him, and Sheen deserves to be more frequently recognized for it. That he makes it look so easy is just another sign of how good his performance really is.

I love this so much. The thoroughly well-deserved praise for Michael's incredible performance as Aziraphale, but also that Aziraphale and Crowley's relationship is specifically described as a "romance." And of course, the first sentence of the last paragraph that acknowledges how much Michael and David are indeed a "matched set" that cannot (and should not) be separated...

[emeraldotter]

doodles

[thelaurenshippen]

genuinely think it's good and healthy to follow at least one person in each of your fandoms who reblogs good gifsets but has just...absolutely dogshit takes on the show, or who ships that ship you despise. keeps things fresh. keeps things grounded. you gotta stay humble

[mayomkun]

Insane how many social cues humans have and you're supposed to know them all without being told

[basement-buddy]

[ijju]

[swordheld]

how do you think in poems? i really enjoy the tags under your posts i've always wanted to write down my own thoughts that way bc in my head they feel so thorough and magical but whenever i put it in words i feel it just gets so much flatter and i no longer see a point and give up

oh oh oh, but lovely, can't you see that you've already started? it's a perspective that you hone, over time, something that is specific to you and you alone – that's the piece of it that makes it so special! you've already begun, and it only goes forward, up, sideways from here, wherever you wish to go!

think of it like a skill, for a moment, or a kind of muscle, if you'd prefer. you have to work at it, with it, over time and differing experiences, in order to progress.

(a quick important note: not progression as in the kind of quality-check of a grading scale, but progression as in evolution. shifting change. think of the leaves and their colors across the months of autumn, or temperatures rising with the sun and cooling with the evening dark. change isn't intrinsically a qualifying thing, it can just be, sometimes. this is difficult to remember, especially in the midst of frustration, but it is worth it. you are always doing better than you think you are – harshest critic, and all that.)

which is not to say that it's a simple thing to do! compare this to the vibe of me picking up crochet recently, with my shaking hands and too-quickly dwindling adhd focus – my first attempts at making a lil headphone sprout have not been going as well as i once hoped. my stitches are either too big and sloppy bc i'm not holding the yarn tightly enough to get clean ones, or i feel frustrated due to it not looking like how i'd like it to look in my mind when i started it, or even as i begin my umpteenth attempt.

but!! i know that it won't ever look the way i want it do if i set it down and never keep trying. it'll take awhile, like everything does, even the seasons take their time, the moon and its phases; but what i do know, is that, eventually, it'll resemble something i want it to. vaguely, maybe, but it is something. it doesn't have to look exactly like the guide i'm following, or the examples i'm inspired by, because it's mine – something made by my own hands, my own time and experience with every mistake and thrilling joy along the way to learn by.

take it from me: i want to be good at things i want to be good at so badly. and that excitement makes me want to be at the skill level i need to be at in order to do so right then and there, no learning curves or building blocks allowed. which is never how it happens, unfortunately, but –

i think, gently, that we tend to overlook what a pleasure it is to learn. to see the slow progression of things, to begin and change and continue and get better. and even if it's different as we go along, in a way it's our own little kind of magic, maybe, to create and never be done if we don't want to be.

which is all to say: it's already yours. why does it have to be anything else, anything more? why can't it just be good as it is now, where it might never be again? what is there to lose by enjoying the moment of where you are?

like everything, it will grow and shift and evolve with time, maybe into something you'd hoped for, or maybe into something you don't even have the words to describe right now at all. but that's the fun of it: how even now, even then, there, across time and distance and skill, there is a common thread of things; it will always come from your heart, your experience, where you are right then and there and now.

and if you think of that like magic, well, it becomes a little like magic, doesn't it?

also, something to consider: sometimes things you feel or think can't be put into words at that moment, or even at all! something else you could try (that i certainly do) is making something else with whatever it makes you feel - whether that's another form of art, or any other kind of media. if it makes you want to go outside and take a walk or get cozy and read or play a video game? that counts too! that's still an experience, you're still feeling.

i think that counts a little more than anything else, you know?

and as a little ending fun side-note, can i share something cool? i've never thought of it that way before, as thinking in poems. in my mind it's always been a kind of perspective of personal wonder, but you're right – it's poetry, in it's own way. you gave me that – so thank you, from the heart of me. i hope your journey finds you with every bright joy.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[taegularities]

just thinking thoughts

[nolongerexistingsadcatface]

Ok yes America hating the cold is funny (eh) BUT. have you considered that I like the imagery of an America sitting alone in the forest in the bleak mid-winter landscape of an east coast woods, all alone in both body and mind, agonizing over her seeming doom to be stuck in the throes of loneliness for all eternity?

[pynkhues]

It is interesting with Antoinette. I could see it being that Lestat genuinely had affection for her, even if he would certainly have killed her had Louis personally asked him to -- or it could be that she was just familiar, and he wanted the closest thing to intimacy he could get, so someone who knew him was better than someone who didn't. And the whole possibility that she reminded him of Gabrielle in some ways...

(x)

Yeah, I totally agree, anon.

I actually unfortunately suspect that Antoinette isn't a character the show will really come back to, and I think I'm one of three people that cares about that, haha, but where I tend to land on her relationship with Lestat is the fact that neither Lestat nor Louis actually have any friends.

That's not to say that I think Lestat and Antoinette were just friends, I don't, they obviously fucked a lot (which like, also comes down to the fact that Lestat doesn't know how to have friends he doesn't fuck, haha), but I do think the reality is that Lestat and Louis have very different racial and cultural contexts, hobbies and areas of interest which aren't things they can easily share with each other, especially not in early-1900s America, and I think that's a bigger factor in their relationship breakdown than either will admit to.

It's why Louis' able to reconnect with Jonah so quickly - they might be leading different lives, but they have more overlapping factors than they don't, whereas he and Lestat have less than they do - and for Lestat as a white theatre kid, he needs to be around other performers. I think with Antoinette, she's obviously a talented vocalist and an ambitious artist, and I can see that genuinely just being company that Lestat wants to be close with. They probably talk shit about crap theatre they've seen and do vocal runs together and fuck, and honestly for a part of Lestat, that would lowkey be a dream relationship, haha. Do I think they have a deep emotional connection? No, but given even Louis' willing to admit she's talented, and his own complex relationship with not succeeding as an artist, I wonder how much that factors in to his portrayal of her and his insecurities around their relationship (to say nothing of the fact that she's both white and a woman).

This feels like it's going on a hundred tangents, haha, but my point is maybe they'd step out on each other less or descend into unforessen levels of chaos and destruction if they both had a few friends they could talk about their identities and niche interests with!!

[authenticcadence18]

this is not really my brand at all but I’m just going to rant about Toy Story 5 for a hot second because the D23 sneak peek made me so mad.

TLDR: Toy Story 5 (and 4) ruin what made the first three films so special.

I’ll start this off by saying I ADORE Toy Story 3. It’s one of my favorite Pixar films. I was 10 when this movie came out, I remember going to like three Walmarts just to find a Jessie doll, and carrying her around with me in my bag all summer. I still have that doll, she’s very special to me.

Part of what makes the first three films so good is the passage of time. First two movies came out within 4 years of each other (1995 and 1999), third movie came out 11 years later in 2010. Andy is a kid in the first two films, maybe he doesn’t age exactly four years between 1 and 2 but he doesn’t have to we’re still in the range of childhood years, in the 90s. When the third movie came out a significant amount of time had passed in the real world, and thus it had in TS3. We quite literally felt the passage of time in that movie along with the toys. THAT is what made that movie so captivating and special, those trailers were so bittersweet and magical and REAL. I remember it so well. The third movie also FEELS like 2010 that movie EXUDES early 2010s it’s so comfy and nice (minus the traumatizing fire scene ofc)

(more below the cut)

Nine years later TS4 comes along and even tho the animation is prettier and the film seems to take place in the 2020s. everyone is the same age. Bonnie has aged what, a year? Over the course of nine real years? whereas Andy went from kid to college bound in a similar amount of time? where is the real world connection?

but ya know I gave the film the benefit of the doubt, I saw it I liked it I loved forky. But the emotional connection wasn’t there the way it was for TS3. But oh well that’s it right? How do you continue the franchise after that ending?

but OH! NOW TS5 is coming out in 2026, seven years later and GUESS WHAT!!! BONNIE IS STILL A KID. Look at this concept art!! She is very clearly still a kid.

she’ll have been a kid for 16 years at this point!! what is this, despicable me? (that’s a rant for another day shdjdjdj)

And she’s an iPad kid now which I mean. Yes. That’s a relevant issue for today’s kids. A GREAT concept for a TS movie. But Bonnie is not the character to portray this storyline. She’s not one of today’s kids she is a kid of the 2010s she was born in like. 2005. BONNIE should be in college and/or starting her own career now. Not an iPad kid. The toys should be with someone else, maybe a younger sister or cousin.

Plus!!! Guess who’s back in Bonnie’s room! Woody!!! so much for him saying goodbye to the others forever to be with his one true love right? The end of TS4 was not my favorite initially but I applauded the writers’ decision to make such a bold choice and change to the status quo. It echoed TS3 in a way, even if it cheapened the end of that film somewhat for me (in my heart the true TS canon ends at TS3 and TS4 is just a possible timeline it could branch off into).

But I guess the moving sacrificial end of your film doesn’t really matter when you can just change it in the next film!! 🙄

I love the sequence of the first three films so much, I love how they take place in the eras they come out in while also moving the timeline along.

Bonnie going from being born in 2005 to the late 2010s AT THE EARLIEST for these films to make any sense makes no sense. and if she’s born in 2005 how is she an iPad kid??? TS4 should’ve come out way sooner, and it should’ve been about a different kid.

(and I KNOW lots of movies and shows have a floating timeline where the kids never age. Charlie Brown, Phineas and Ferb, The Simpsons. but for those shows the setting changing with time while the characters don’t is part of the charm. The Toy Story franchise could’ve been that way but Toy Story 3 fundamentally changed that.)

(And look let’s say the movie takes place in 2012 and Bonnie has a rudimentary IPad 4 or something. why are we just seeing the movie now in 2026?? the timelines don’t match up it doesn’t make sense no matter what.)

I feel an emotional connection to the Bonnie of TS3 because she belongs in that time period, in the early 2010s when cellphone technology was just starting to pick up, when I was still a kid. And I think of TS3 and my brain screams 2010S!! MIDDLE SCHOOL!!!!!

whereas when I think of TS4 I’m like “has it actually been five years? it feels like it came out like two years ago” bc there’s no passage of time within that film to anchor it to the year 2019. That film came out the year before covid and it STILL feels like it came out like two years ago. that is telling to me.

Seeing Bonnie still be a kid 14 (and what will be 16) years after her debut feels inauthentic to the precedent set by Andy and TS3. I’m sure the movie will be good bc Toy Story movies are always good. But they’ve lost that sense of realism, of moving time, of leaving something behind and NOT being able to pick back up right where you left off. That kept the TS movies grounded in bittersweet reality, that’s kinda the whole point. :/

[crazynerdandproud]

Alright that’s it, Gerry Keay is my favorite character in tma. Just listened to episode 111 and I am emotionally devestated. Also glad he gets to rest. Also I love him. I refuse to call him Gerard (cause apparently it’s that and not Jared Jon why have you been saying it like that) from now on I’m just calling him Gerry. That or goth king.

[sincericida]

ANDREW GARFIELD

at the 24th Costume Designers Guild Awards 2022

[weareuniqueandimportant]

EMPATHY GLAMORIZATION IS NOT ABOUT EMPATHY BUT SUPERIORITY TORWARDS APATHETIC PEOPLE BIGOTRY TORWARDS THEM TYPICAL BIGOT EVIL. SIMPLE AS THAT. IF YOU SEE THEM AS LEFTIST YOU'RE NO LEFTIST YOURSELF. HORRIBLE. THAT IS IMPOSSIBLE TO HAVE ONLY EMPATHY AND BAD TO THINK EVERYTHING YOU DO IS SUCH ESPECIALLY WHEN THEY'RE CLEARLY BEING APATHETIC IF ANYTHING WHEN THEY DO THIS...

COMES TO SHOW BIGOTRY TORWARDS CRAZY AND DISABLED PEOPLE ASWELL AS PARAPHILIA PEOPLE ISN'T TAKEN AT ALL THE SAME AS SEXISM RACISM AND QUEERPHOBIA... OR PERHAPS... LIKELY... THEY ARE ALL THE BIGOTED THINGS EVIL AND TAKE NONE THAT SERIOUSLY... BELITTLING DOWN THEIR PAIN AND DAMAGE...