#this is deliberate costume design

[runninguplenorahills]

I just told my sister about my mini analysis of El’s outfit in s4, ep. 2 and she said: “or maybe she just wore it because she has it in her fucking closet.”

………no <3

[ssaalexblake]

There are many very good things to be baffled about in Star Trek, but I am still, years later, pettily irritated that they use white for medical uniforms sometimes.

Like, I get it, some costume designer probably wanted to differentiate medical staff from a scientific researcher (which is like, fair tbh? a scientific researcher and a practicing medical practitioner are very different. Being able to ID a doctor on sight is probably useful in starfleet, lets be real).

but choosing WHITE?

the people most likely to be bloodstained, in White?

I know it's the future and stain removal is probably easier and replicators and stuff but this bothers me so much that it's not actually even funny.

This is my petty trek opinion hill that i am dying on. That was a stupid idea and it needs to stop.

[anachronistic-falsehood]

OK OK so margot verger IS a lesbian ok GOOD TO KNOW!! i thought she wasn't bc of the wil thing but i think she just fucked him bc she wanted a baby. ok i need to stay off the wiki now i'm gonna spoil things for myself i just wanted to check some things bc i got confused over some stuff from the last season

[lackadaisycats]

Congrats on releasing another animated short! The animation is so smooth and expressive! but i have to ask. Did you redesign Mordecai’s face? It’s so subtle I had to rewatch it but he looks cuter than in the pilot. Is it because hes younger and we’re seeing him in a different context? Or are you redesigning him for the series and if so are any other characters getting a makeover?

Hey, thanks very much! We didn't redesign his face, but there are a few things contributing to him looking a bit different.

We went with a deliberately "slicked back" look for him in the pilot so that he'd appear distinctly older and more put-together than Rocky, Freckle, and Ivy. But for "Stratagem" and some other things we're working on, set at an earlier point in the 1920s, we've reintroduced his hair fluff up front. For such a small change, it does tend to soften him a lot.

His clothes. In the pilot, he's wearing a big, turned up collar that looks almost like a cobra hood. His collar is much smaller in Stratagem, so you can see his otherwise not-very-imposing frame.

He's far more, er, animated in the recent animation. His eyes are more wide open and he's a great deal more expressive, with agitated hand gestures. This was also deliberate. He's really putting on the sangfroid-face in the pilot. In the new short, he's revealing a much less constrained side.

----

About other characters, yes, we've been fleshing out their reference sheets a bit more and spit-polishing their designs. The band members have had an overhaul to make them a lot more distinct and detailed, and Viktor has also undergone some rework to address some animation issues we encountered with him in the pilot. Lots of costume changes too. You can see a lot of the changes I described above and a lot of new character designs for Season 1 on the Lackadaisy Patreon.

[genderlessghoul]

I've been wanting to do this post for a while now so here is EVERYTHING I CAN TELL YOU ABOUT THE GHOULS' IMPERA COSTUMES.

Buckle up because I have a LOT to say about those, this is gonna be a very long one.

The costumes were designed by B Åkerlund, a Swedish costume designer who's worked with Ghost since at least Meliora (that's as far back as I was willing to scroll on her Instagram page lol). B Åkerlund has also worked for many other musical artists such as Lady Gaga, Beyoncé, Madonna, the Rolling Stones, Ozzy Osborne, Blink 182 and Hollywood Undead (information from her own website)

The masks were made by Bob Basset, a visual artists who works a lot with leather. I find his work fascinating, you can look him up on Instagram (nsfw warning, there's a few naked ladies).

Fun fact! The horns are real cow horns. That's the reason some of them have gold tips, to hide the imperfections that come with working with actual horns.

He does have a shop where he sells his items, there's a mask there very similar to the Impera ones. You can also buy Papa's batwings if you happen to have 2500$ lying around!

The jackets are made on the same model as one of Papa's. The back is decorated with a spine-like design made from leather and cording. It's adorned with a few of our classic Impera buttons. Some of the hems were left raw and some deliberate weathering was done to make it look old and worn.

Fun fact! The shoulder pieces are not sewn into the garment, I would assume for easier cleaning. I don't know if they're held by strong magnets or snap buttons.

The vest (my beloved 😩) is made from flocked velvet in a paisley pattern, the front hems embellished with satin piping. It closes in the front with custom metal clasps that are riveted into the garment. The D parts are attached with what seems to me like wide elastic, which would lessen the pression on the clasps when moving around a lot. The back is made from two different types of fabric, I'd have to touch it to be able to tell you what they are. I assume the panels closer to the sides have some mild stretch to them. The top of the shoulders are decorated with Impera grucifix patches.

The shirts were not custom made for the ghouls, altho they were altered. The original shirt in the vintage painter linen shirt from Punk Rave and it is still being sold. Some of the cuffs were altered, removing the ruffles for some of the ghouls, but not all. They were removed for Dew, Mountain and Phantom, Aether's didn't have them either. As far as I can tell, all the ghoulettes still have them.

An unfinished piece of linen serves as an ascot, that piece is decorated with a metal devil skull. The colour of the skull doesn't appear to be consistent between each ghoul, Dew's looks gold almost bronze while Phantom's is a silver-like colour.

Another modification is the buttons, a small portion of them were removed in favor of our Impera buttons. Some of the ghouls have more buttons replaced than others, which is still a mystery to me.

The pants are called Jodhpurs, they were invented in the 1800s as horse riding pants. The wide part at the hips and thighs allowing for better movement. The ones the ghouls wear don't reach all the way to their ankles, they stop a bit past the calf muscle, hidden by the boots. (Yes, the ghouls are effectively wearing capri pants)

The boots are motorcycle riding boots, decorated by a grucifix. Like the shirt, they can still be bought online through the All American Boots website, altho the price tag is... Headache inducing to say the least.

The cape is a piece of costume that was only briefly worn on stage by the ghouls, Aurora being the only one who still wears one. I would assume it gets in the way of playing very easily. The cape itself is made of two fabrics, a light blue satin and a dark grey suede. The two pieces are not sewn together at the bottom, they move freely from each other. The cape is attached on the left shoulder with a harness piece that has one strap across the chest, decorated with a metal buckle, and one under the armpit.

Aight that's it for me, have a nice day byyyyye!!

[inbarfink]

So the thing about Tak’s Holo-Disguise is that it specifically might not be an example of Tak using more advanced technology than Zim.

The implication in “The Nightmare Begins” is that Zim maybe also have access to Perfectly Realistic Human Disguises, probably similar to Tak’s Hologram - but he intentionally rejected them because he saw them as too ugly. He deliberately chose his shitty little costume because he thought that was the only one that looked ‘good’.

And these terrible disguises are also pretty consistent with how the actual official Invaders disguise themselves. If anything, Zim’s got the best costume of the lot!

So with Zim dismissing the more realistic disguises as being ‘ugly’ and ‘stinky’ and those being… basically the most common insults he throws at humans. ..I think the implication here is pretty clearly that Zim’s (and the actual Irken Invaders’) disguises are bad because he doesn’t want to look too human because Irken Imperial Indoctrination has taught him every other species in the universe is revolting and so he cannot stand the idea of looking too match like the people he is trying to infiltrate.

So it is interesting that the one Irken who actually uses their advanced technology to actually look like another species is Tak. Maybe she’s just being a bit of a show-off overachiever. So driven by the need to prove how competent of an Invader she can be she decided to suffer through the indignity of Using a Competent Disguise. 

Or maybe there’s sort of an implication that Tak doesn’t really buy into Irken Ideology that much?

Like, obviously, she’s not, like,  some sort of anti-Imperial pro-alien advocate or anything. She’s still trying to gain the respect of the Tallest, she still wants to become an Invader, she is still willing to sacrifice an entire planet in order to achieve her goals. 

I’m thinking more, like, Zim is 100% a true believer in Irken Imperial Ideology. He wants to be an Invader at least in part so he could use his ‘amazingness’ to contribute to the conquests of the Irken Empire. And he legitimately believes the Tallests are superior beings worthy of his admiration. And he legitimately believes Irkens are superior to all other sapient beings in the universe in general and to humans especially.

Meanwhile, Tak’s main goals might just be to gain as much power and prestige as she can - no matter what or who stands in her way. If she lived in a society that valued dentists above all she would’ve become a dentist. But she was born in the Irken Empire, and the most prestigious not-height-dependent position available to her in Irken Society is the one of an Invader, so that’s what she dedicated her life to. Not out of any ideological commitment to help the Empire's conquests.

She tries to gain the Tallests’ favor because she knows she needs them to get ahead in life, not necessarily because she craves their tall, superior approval the way Zim does. She can kill a lot of non-Irkens on her way to ‘greatness’, but it’s more of a general callousness towards other people - rather than loyalty to the superiority of the Irken people. 

That might also explain why she’s the one Irken with the sense of individuality to customize her uniform

And design her own version of the Irken Empire Flag, based on her own look.

Because maybe she’s not trying to serve the Irken Empire, maybe she’s just trying to serve Tak.

[recycledmoviecostumes]

Helen Rose frequently designed costumes for period films that were much more contemporary in taste than the period they were supposed to depict. Good News is set in 1927, and while the costumes do include some references to the period, the women’s costumes conform to the 1940s silhouette with a defined bust, fitted torso, and shoulder pads. This dress is the only one in the film that refers to the beaded chemise dresses of the 1920s.

The dress is a deliberate stand-out and features in the film’s plot line. New sorority member Pat McClellan is reprimanded for asking a sorority sister to fix the dress and informed it is much too showy for a party at the sorority house. However, when she reveals herself as an ego-centric, social climbing gold-digger, she is told the dress is perfectly suited to her, and she makes her dramatic entrance down the staircase to a bevy of ogling football players.

This distinctive piece was used again in a musical number in the 1952 classic Singin’ in the Rain!

To see more costumes from Singin' in the Rain, visit our website!

Costume Credit: Glenn P, Pygartheangel

Follow: Website | Twitter | Facebook | Pinterest | Instagram

[suzukiblu]

Parasite WIP is so good and I desperately want more of it! I voted for it in the poll and I’m so sad it didn’t win

Friend, I appreciate you asking after it because it really is one of my fucked-up faves that I really need to work on more, so uh . . . have all 4500 words of the prose so far all together, hahaha. Yes, yes I DID reformat this whole thing into Tumblr-friendliness all for you. THAT IS HOW MUCH I APPRECIATE YOUR APPRECIATION, FRIEND. ( so definitely we are gonna need that read-more down there, lol. )

Clark wakes up. 

Clark didn't even know he wasn't awake. 

"Superman," Bruce says with absolute neutrality. He's wearing the cowl. Standing in rubble. Clark is . . . not standing in rubble. 

Laying in rubble. That's what Clark is doing. 

Bruce is looking down at him very, very carefully, and seems . . . reserved. 

Reserved for Bruce, even. 

"What happened?" Clark asks, trying not to concentrate on the little seed of dread that the sight of that reservation invokes in him. He can hear the heartbeats of other League members, here and there in the wreckage of the street around them. Hear civilians and city noise. Hear Lois and Jon, distantly, and Ma and Pa, even more distant. And . . . Kara–both of her–and . . . 

"We'll go with 'electrocution', but I think we can safely say just about anyone else would've been virtually incinerated," Bruce informs him, distracting Clark from his mental rundown of people he's currently worried about. "Or just exploded."

"Ah," Clark says with a grimace. Well, that explains why his head hurts so damn bad, he guesses.

At least it was him, then, and not any "anyone else"s. 

He pushes himself up. Looks around. He . . . isn't sure where they are, exactly, except that it's probably somewhere on Earth and within the continental United States, judging by the architecture and signs he's seeing and the accents and languages he's hearing. 

He has absolutely no idea how they got here, though. The last thing he remembers is . . . 

. . . he's not actually sure what the last thing he remembers is. 

Not a great sign, that.  

Bruce is watching him. Like he's . . . expecting something, almost. Clark would ask, but there's an odd feeling distracting him. Something's . . . off, somehow. 

Missing. 

Bruce's utility belt is a new design, he notes absently. J'onn is down the street a bit and his costume looks a little different too. And Diana . . . 

Diana is over across the way, and her hair is a couple inches longer than he remembers it being. 

Clark would assume he was mistaken, except for the eidetic memory and all. 

"Hm," Clark says. 

"Hm?" Bruce says. He still sounds faultlessly neutral. 

"Trying to figure out if I'm in the right reality. Things look a little off," Clark replies, tilting his head and narrowing his eyes in concentration. No unexpected sounds or scents. No particular feeling of disorientation that can't be accounted for by being apparently electrocuted. No additional pains past the dull pressure in his head or any immediately obvious peculiarities beyond the minor little scattered differences here and there in his teammates. 

But something is–

"I can't hear Kon," Clark realizes abruptly. He doesn't usually especially keep an ear out for the kid, at least not deliberately, but . . . 

Bruce . . . pauses. 

"You can't," he says, very carefully. It doesn't sound like a question. 

It sounds like something, though. 

"I can't," Clark confirms anyway, glancing around again. He still doesn't know where this is. "Where are we, exactly?" 

"What's the date, Kal?" Bruce asks, and Clark's heart sinks. 

He answers the question. 

Bruce's mouth thins. 

Hell, Clark thinks. 

"We're currently in Keystone City," Bruce says, very carefully expressionless. "We've been here for three days. The date you just provided me was a full fourteen months ago. And Kon-El has been MIA for roughly thirteen and a half of those months." 

Hell, Clark thinks, and doesn't let himself process anything past that. 

"We need to get a scan of your brain," Bruce says. "For starters." 

"For starters," Clark agrees tightly. 

Bruce tells Diana they're leaving, then abandons the rubble and takes Clark up to the Watchtower. Clark goes. He doesn't ask what electrocuted him or who's died in the past fourteen months or if there's anything immediately urgent that he should know. Bruce would've already told him, if there was. 

And he thinks he'd choke on the question if he tried, anyway. 

They go to the med bay. There's a total stranger standing in it who smiles at them when they step through the door. 

"Haven't seen you in here in quite a while, Superman," the stranger observes in amusement, tapping a pen against the clipboard in their hands. "You still haven't been in for that checkup I owe you, you know." 

"He doesn't know you," Bruce informs them evenly. The stranger blinks. 

"Sorry?" they say. 

"He was electrocuted," Bruce says. "Now he thinks it's fourteen months ago. We need a brain scan. Immediately." 

"Hell," the stranger says, their eyes widening in alarm. 

Clark gets the brain scan. 

He and Bruce wait in a convenient exam room for the results, which seem to be taking a while. Bruce seems a bit more guarded than usual, which means Clark is standing next to goddamn Fort Knox right now. He sighs to himself. 

"Suppose at this rate I should call and tell Lois and Jon I'll be late for dinner," he jokes wryly as he folds his arms, no real humor in the comment, and Bruce goes very, very still beside him. 

. . . hell. 

They're not dead. He knows they're not dead, he heard their heartbeats before they left for the watchtower, Bruce would've already told him if either of them were–

"They aren't expecting you," Bruce says with absolutely no intonation whatsoever in his voice. "You moved out eight months ago. The divorce is already finalized." 

"Ah," Clark says, very slowly. He doesn't let himself process, again. Not–just, not yet. "What happened?" 

"You left them," Bruce says, and Clark . . . blinks. 

"I left them?!" he demands incredulously. Leaving Lois is one thing, horrible and impossible a thought as it is, but– "Not just–I left them both?!"

"As you explained it to me, you were no longer interested in maintaining the . . . 'persona' of Clark Kent," Bruce replies carefully, looking just past him. "You said you couldn't stand the screaming anymore. That you appreciated us . . . humoring you for so long, but you couldn't just keep walking around making excuses and lying to everyone while people were suffering and dying just because you had to pretend to be human for a while. So yes. You left them. Haven't visited since Lois finally signed the divorce papers. Haven't spoken to your parents either. You've been . . . erratic. Since Kon-El's disappearance. When we couldn't find him . . . when we couldn't even find out what happened to him . . ." 

"Oh," Clark says, and his heart sinks again. 

He doesn't understand, though. Kon is–he cares about the kid, obviously. Cares very deeply about him. He's pretty sure he even loves him, at this point. But he's not . . . 

It feels terrible to think it, but Clark doesn't understand why Kon disappearing like that would affect him enough to stop being Clark. It's awful, and he still hasn't let himself actually think about it happening at all because he really can't process it right now, but that awful? Really? Awful enough to abandon being any semblance of a normal person? Abandon Lois and his parents entirely? 

Abandon Jon entirely? 

Apparently, yes. 

"Technically you're on unpaid sabbatical from the Planet," Bruce tells him. "We thought you might . . . reconsider, once you'd grieved properly, so Lois pulled some strings with Perry White. He thinks you're having an early mid-life crisis and your co-workers think you're off finding yourself in South America with a bad cell phone plan." 

"I guess I don't believe in satellite phones?" Clark says, trying for wry again. It doesn't work, but he tries all the same. 

"This is unfair of me, but I'm going to take advantage of your current mental state," Bruce says. He's looking at the wall, though there's nothing there to actually be looking at. Not even anything on the other side, at least not according to X-ray vision. "Try to remember how you feel right now, when your memories of the past year return. Try to remember who you are right now, when those memories return."

"Why?" Clark asks, watching him carefully as he does. The corners of Bruce's mouth tighten. Just barely, but undeniably. 

"You've been . . . gone, Clark," Bruce says slowly. "You won't even answer to 'Clark' anymore. You aren't the same man that I . . . that we all . . ." 

The stranger comes back before Bruce has to admit to too many personal feelings or Clark can figure out what to say to any of that, which might be a mercy but might also be–

The stranger looks . . . strange, Clark notices. Nauseated, almost. And definitely distressed. 

"I haven't done brain scans on Superman before," they say, their grip on their clipboard concerningly close to white-knuckled. "And my predecessor apparently hadn't done any in a while either. Last ones in the system are over two years old." 

"What's wrong?" Bruce says, narrowing his eyes. Honestly at this point Clark figures a kryptonite brain tumor would really just be the icing on the cake, and frankly would probably explain some of his apparent behavioral changes and current memory loss. That genuinely makes more sense than anything else, really, even with grief and guilt to contend with.

More sense than abandoning his own damn kid does, at least. 

Although a tumor's the worst-case scenario, obviously. And it can't be any worse than that, really, or any worse than anything he's apparently done to his family this past year, so at least he's braced for–

"There's an . . . organism," the stranger says, swallowing uncomfortably. "In your brain." 

"What?" Clark says. 

"A dead organism, now," the stranger clarifies. "But it looks like it's been there for a while. There are . . . roots. And . . . lesions, too." 

"An organism," Bruce repeats very, very slowly. "In Superman's brain." 

"Yes," the stranger says. 

"I don't . . ." Clark trails off. 

"We need more scans," Bruce says. 

"I ran it four times on two different machines," the stranger says. "It's organic. It's not giving off any recognizable life signs. It seems like it might've been . . . you mentioned electrocution, before?" 

"You think the electricity killed it," Bruce realizes. "And then Superman forgot fourteen months?" 

"I'm not sure Superman ever experienced those fourteen months to begin with," the stranger says tightly, gripping their clipboard even harder. 

Clark was in no way whatsoever braced for this. 

"Fuck," Bruce says. 

More scans happen after all. A lot more scans, a lot of specialists, and a lot of arguing. Everything's a bit of a blur, in a sense. Clark absorbs very little of it, and mostly leaves things to Bruce unless he's asked a direct question about his medical history. His judgment might be compromised right now, after all, whether the . . . organism is dead or not. 

The emergency OR gets prepped. The red sun lamps get set up inside it. 

"Should we contact Lois?" Bruce asks as Clark's shrugging into an ill-fitting hospital gown and preparing himself to possibly die in pursuit of getting a dead who-knows-what out of his brain before it can start to rot there and potentially kill him that way. "Or your parents?" 

"No," Clark says. "Just get this damn thing out of my head." 

If he doesn't survive the removal process . . . 

They don't know what's been going on. What he let happen to himself, somehow.

He isn't going to tell them he's back just to immediately take himself away again. 

He records something for Jon, just in case. It's not enough, but it's–something, he tells himself. It's something. 

It's all he can bring himself to do. 

He leaves the disk with the recording on it with Bruce and asks him to have Dick deliver it, if it's necessary. 

Things proceed from there, and Clark wakes up again a week later in a private room in the med bay, connected to half a dozen machines and needles and tubes and directly facing the sun. Diana is dozing in the chair next to his bed. Bruce is pacing at the foot of it. They're both in costume. Clark feels weak and groggy, but he can hear half a dozen other heartbeats lingering in the hall, so presumably they were expecting him to wake up around now. 

"Mm," he says. Diana snaps awake. Bruce stops mid-step. 

They both look at him. 

"The operation was a success," Bruce informs him. "Textbook. Or as textbook as removing a mind-controlling parasite of unknown origins from a Kryptonian brain can get for mostly-human surgeons, anyway." 

"Do you need anything?" Diana asks. "Would you like us to call your family yet?" 

Clark shakes his head, then closes his eyes and sleeps for another week. 

"Sleep", he supposes, counts as something that he needs right now. 

The next time he wakes up, he's alone in his room and disconnected from the machines and just feels . . . normal, really. Like nothing was ever wrong at all and he didn't just have major surgery that was, essentially, the equivalent of multiple traumatic brain injuries. His hair is already starting to grow back from where it was buzzed down for the surgery, and there's not even any bandages on his head. 

There's no noticeable scarring, Clark observes when he makes it to the little ensuite bathroom to take a look in the mirror. The surgeons told him there probably wouldn't be, given both the methods they'd been intending to use and the nature of his own physiology, but seeing the total lack of proof of what happened to him is just . . . strange, somehow. 

It feels almost like a cheat. Like it should be obvious, in some way. 

There was a parasite in his head. Something controlling him. Pretending to be him. Passing for him. It could've done anything it wanted. 

It did do things that Clark still has no idea about. 

So many things. 

He couldn't even fight it. Wasn't conscious or aware enough to, or just not strong enough to, or just . . . 

He couldn't even fight it. 

And he doesn't know what it did. 

The door opens. Diana walks in. 

"Would you like us to call your family now?" she asks. 

"Yes," Clark says roughly, curling his fingers around the sides of the sink in front of him. "Please." 

"Of course," Diana says with a terrible and merciless gentleness. 

Clark sits down on the lid of the toilet and just . . . cries. Just for a minute. 

Or twenty. 

Diana kneels in front of him and holds his hands in her own. 

Fourteen months, Clark thinks, all twisted up with grief and pain and so, so much regret. He missed so much. He wasn't there for Jon or Lois or his parents. He wasn't there for Bruce or Diana or the League, for either of Kara, for . . . 

For Kon. He wasn't there for Kon. 

Wasn't there for Kon when the kid needed him. 

Kon completely vanished, and who knows if the damn parasite even pretended to help look for him? If it did anything at all for him? Who knows if Clark could've found him, could've saved him, if he'd still been himself at the time? 

. . . who knows if the parasite isn't what made Kon disappear to begin with? 

It took fourteen months of Clark's life, and Kon . . . Kon disappeared two weeks into those fourteen months. 

If nothing else, the timing is a screaming red flag. 

Clark abandoned his son and might've murdered a kid who only ever looked up to him, a kid who he was never really able to fully understand but literally named, and he can't do anything to bring Kon back or to make up for the year that he wasn't there for the rest of his family. 

Their family. 

God, what has he done? What has Clark done, and did Kon die feeling afraid or shocked or terrified? Did he die feeling betrayed? Did he think it was Clark doing it, however it happened? 

Did he die thinking Clark wanted him to die? 

Clark doesn't even know what happened to his body. 

There won't be another resurrection.  

Clark chokes. Diana squeezes his hands. He grips hers like a lifeline and shudders through it. The grief is a terrible, ugly thing. It's one of the worst things Clark's ever felt. 

The guilt is worse. 

"Lois," he murmurs finally, feeling like the weakest man alive. "Could you call . . . Lois, please, and just . . . ask if she'll come. I'll explain it all to her, just–could you call her, please." 

"Yes," Diana says, squeezing his hands again. "Of course." 

"Thank you," Clark says. 

He pulls himself together, more or less, and Diana goes to make the call. She comes back a few minutes later and tells him Lois agreed, but needs to find a babysitter first. Clark in no way blames her for not bringing Jon along and frankly is surprised she's willing to come at all. 

He's not sure what he could even say to Jon right now. 

What can he? 

Diana makes sure he eats something, then leaves for monitor duty. Clark tries not to overthink things. Tries not to think too much at all. 

He spent fourteen months not thinking at all, though, all of it lost in one oblivious blink, so that doesn't work out all that well for him. 

An hour later, he hears the Zeta platform activate on the opposite side of the base, and hears Lois's heartbeat appear inside the watchtower. 

Clark exhales, very slowly. 

He waits. 

Lois comes to the med bay. She doesn't stop to talk to anyone on the way. Doesn't talk to anyone except that stranger Clark still doesn't actually know the name of, who tells her where to find him. 

And then a minute or a millennium later she's standing in the open doorway of his room, and Clark is looking at her. Her expression is neutral, and her hair is shorter than it was the last time he remembers seeing her–the last time he was the one actually seeing her. An inverse bob, not shoulder-length anymore. He recognizes the blazer and heels that she's wearing, but not the blouse or the pants. Not the earrings or the necklace, either. 

And there's no wedding ring to recognize either way. 

Clark wonders what happened to his. 

God, but she's still the most amazing woman he's ever seen, and he's still never once deserved a single part of her. Not even a fraction of a part. 

Especially not now. 

"Kal," she greets, tone just as neutral as her expression, and Clark aches. 

"Clark," he says, just a little too abrupt, and Lois–pauses. 

"Clark," she amends casually as she tucks her hands into the pockets of her blazer, and if he didn't know her quite so well he wouldn't have even heard the crack in her voice around his name, super-hearing or not. "Never seen your hair this short. I kinda miss the curl, not gonna lie. It has charm, you know? Very boy scout next door." 

"I had emergency brain surgery," Clark says. Lois pauses again. Tilts her head. He keeps talking. "Two weeks ago, now. Just woke up again fully today." 

"What?" she says, just staring at him. "You–what happened?" 

"It's . . . unclear, still," Clark replies slowly. "But as far as we can tell, roughly fourteen months back an unidentified alien parasite moved into my brain and . . . took me over, essentially. I don't actually–I don't remember any of that time. At all. Then two weeks ago I got electrocuted in Keystone and the parasite died. The surgery was to remove its body so my brain could heal from the damage it did without it rotting in there." 

Lois keeps staring at him. 

"Fourteen months," she echoes very, very carefully. 

"I'm so sorry," Clark says tightly. "Bruce told me I left you. Left you and Jon. That I stopped being . . . myself. I can't imagine how difficult that was, or how it must've felt." 

"I can't imagine how waking up and hearing that none of us even noticed you were gone felt," Lois says. 

"You never do pull a punch, do you," Clark says with a weak attempt at a smile. 

"I'm sorry," Lois says evenly. "I should've known." 

"No one did," Clark says, then . . . hesitates. "Or . . . we think no one did." 

"You think that's what happened to Kon," Lois says, because of course she's already done the math, and of course she's already had the thought herself. Obviously she would've. 

"The timing is . . . likely, at least," Clark says. "And really, if anyone was going to see my face and notice that a different person was wearing it . . ."

"You have a point," Lois murmurs. She steps into the room. Clark wants to hold her. He also wants to bury himself in the coldest, darkest place that he can find and never, ever let himself see the sun again. 

He doesn't deserve it anymore. 

"I'm so angry that I want to cry," Lois says, her voice very distant and her eyes locked on his. Clark can see her hands fisting in her pockets. "I'm so . . . god. I should've known. You never would've left Jon. Not like that." 

"Bruce made it sound like the parasite was . . . very convincing," Clark says. It convinced Bruce, who may just be the most paranoid mind on the planet, so . . .

"It was," Lois agrees, still without taking her eyes off his. "But I still should've known." 

Clark blinks a little too quickly. Lois tightens her jaw. Takes her hands out of her pockets and leaves them at her sides instead. Clark never thought he'd see them without her wedding ring again. 

"It's been–months, I know," he says, hating himself for thinking he even deserves to say this. "For you. But I still . . ." 

"I love you," Lois says. "Come home." 

There is no possible world in which he could tell her "no". 

Med bay makes him wait for another two hours of observation and runs some scans, but then they let him go. Lois waits with him the whole time. She doesn't call anyone or send any texts. Doesn't leave the room. Barely says a word. Hardly even takes her eyes off him, like she thinks if she blinks he's going to disappear. 

Clark can hardly keep her heartbeat out of his ears, so he doesn't blame her. 

He doesn't blame her at all. 

They go to Smallville. Bruce had said he'd send Dick to pick up Jon from the babysitter's and get him to the farm, and as much as Clark had wanted to go straight to him himself . . . 

Ma and Pa first, he reminds himself. This is going to be upsetting for Jon–most likely traumatic, once it all sinks in. And definitely disorienting. It'll be best if as many of the adults in his life as possible know what's going on in advance, so he can go to whoever he needs to go to; get whatever comfort they can prepare themselves to offer. 

Clark doesn't know how to do this. 

He doesn't . . . 

They don't take two steps onto the farm before a familiar blur is crashing into him head-on. 

"Oh," Clark manages, and Krypto barks excitedly and flies up to lick his face, tail wagging wildly as he jumps all over him. Like he's missed him. Like he's been waiting for him. 

Clark nearly cries again.

"Good boy, Krypto," he tells him, quiet and rough. "I missed you too, boy." 

He scratches Krypto's ears. Strokes his back. Krypto nearly bowls him over in delight. 

Clark buries his face in his neck and cries a bit after all. 

Lois watches. 

Waits. 

Clark spends . . . maybe a little bit too long crying on his dog, and then they all head up to the house. Ma and Pa are both standing on the porch; presumably they heard Krypto barking. They both look a little bit startled and a little bit confused and a lot more pained at the sight of him, and Clark swallows painfully and stops just before the porch steps. 

He looks at them, and he loves them so desperately. Everything they ever did for him, and everything they've ever been to him, and . . . 

"I'm sorry," he says. "I just . . . there was . . ."

God, the way this hurts. 

"It was mind control," he says. "The past fourteen months or so. I was . . . I wasn't. Wasn't here. Or . . . anywhere." 

"Oh," Ma says, and her eyes are instantly wet with tears. Pa blinks very quickly, his hand curling against the porch railing. 

"I'm so, so sorry," Clark repeats tightly, his own hands in useless fists. "But I'm–back now. I'm home." 

"Oh, Clark," Ma chokes, and then they both throw themselves at him. Clark's been hugged by people with strength far past superhuman, but it's never felt . . . 

No. It's never once felt the same way as when his parents do it. 

They cling to him. He clings back. Krypto barks again and swoops around the knot of them, wagging his tail hard enough to nearly knock Lois over with the force of wind it stirs up. Definitely some of the porch furniture gets displaced. 

Clark feels so much. 

They sit together on the porch, Krypto sprawled contentedly across Clark's lap and Lois on the steps beside him. Clark gives Ma and Pa what explanation he can–tells them everything he knows about Keystone and the electrocution and the watchtower and the surgery and waking up. They watch him just as intently as Lois does the entire time. 

He doesn't . . . he doesn't mention his suspicions about what might've happened to Kon. Not . . . not yet. 

He doesn't know how to. Not to Ma and Pa. Not after he brought the kid here and left him on their doorstep with no real direction and . . . 

Just–he'll tell them. He'll tell them soon. 

Just . . . not yet. 

It's not a very long talk, in the end. Ma and Pa take in everything he says and just take it all in stride, just like they always have. Baby in a spaceship? Kid with superpowers? Son who thinks he can save the whole damn world? 

Of course they take it in stride. 

Clark loves them too much to even define. Too much to even wrap his own head around. They're the best people he knows. The best people he's ever known. 

They don't even think there's anything for him to be sorry for. 

It's . . . painful, a little, when Clark realizes that. 

Or a lot. 

So, so damn painful. 

Clark hears the definitely-not-a-Batmobile coming, far down the road. Three heartbeats inside it. Dick, Damian, and . . . 

Jon. 

Obviously. 

Clark strokes Krypto's ears one last time, then gets up. No one asks him why, but he supposes the look on his face must be answer enough right now. 

He steps off the porch and goes to wait by the driveway. 

It's not that long a wait, but it feels like the better part of eternity.

[hereidinathoreauwrites]

Let's talk about Gloria's outfit. Can we talk about Gloria's outfit? I'm dying to talk about Gloria's outfit!!!

I have not seen nearly enough discourse on this first outfit we see Gloria in so I am picking up the slack.

Okay, first shot of Gloria. Character intro.

And do you know what my eyes instantly went to:

These. These goddamn, pink sneakers.

I tell you, I smiled like I'd just found an old friend when I spotted those, you know why? Because I GOT IT. In a single shot, I understood this character right to her core.

The rest of her outfit is very professional: jacket, blue shirt, hair painfully straightened to look "good". But these shoes...

That is her personality, right there. She loves pink, she wants to wear as much of it as possible. But all she feels she can get away with in her current job is this little detail.

And I GET IT. I too am a huge nerd. I obsess over weird shit that other people don't GET (see: this entire post about A SINGULAR OUTFIT in the Barbie movie). But, in order to operate in the Real World, I instead cover up most of that and instead wear only the subtlest of symbols so that I can feel true to myself without tipping anyone else off that I'm DIFFERENT.

But I'm not done. Because then we see her in her next scene without the jacket...and what is underneath?

Not a plain blue shirt.

This.

This thing. This weird, wonderful, mystifying shirt. Which, aside from the fact that it kinda looks like an American flag (I see you, costumer), is yet another indication of Gloria hiding her nerdy, obsessive personality.

This thing is deliberately designed so that when she's wearing her work jacket, you can't see the pink, the fun pattern, the oddness of the shirt.

See? Same day, same outfit, no sight of pink. Without the jacket, it becomes whimsical, odd, delightful. Where the hell did she even get this? Did she make it herself?

And then there's a sparkly belt! That was also hidden under the jacket in the earlier scene. LOOK AT THIS DORK!

Now, without the jacket shielding the outfit, her shoes finally match the rest of her.

She is a closeted Barbie fanatic and insecure about expressing it.

And all that is in her outfit.

[bowtiepastabitch]

Let's talk costuming: Avaunt!

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

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

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

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

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

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

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

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

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

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

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

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

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

[dresshistorynerd]

the gilded age costuming is interesting in that they deliberately take inspiration from later designs for bertha and gladys to emphasise the “nouveau riche” while the old money characters will be clothed in more historically accurate fashions (some are even direct replicas of paintings/extant garments)

I do understand the urge to do that, and I know it's approach with a lot of historical costuming, but personally I dislike that approach. I think it misunderstands the point of fashion in Victorian society. Today we think of the most fashionable people to be very forward thinking in their fashion and for formal clothing to be most fashionable. Red carpet is often treated as fashion event. However, this was not the case in Victorian society. Fashion was social decorum, it was a requirement to participate in high society. Or rather it was requirement to participate in society at all. Even workers adhered to the fashionable silhouette, while working. Here's for example factory workers from mid 1890s with perfectly fashionable silhouettes with the big sleeves and all.

I think it's quite backwards to think nouveau rich would be experimenting with futuristic fashion. It's unthinkable they wouldn't adhere to the fashionable silhouette for high society events especially. They were the ones trying to establish themselves as part of high society, so they would be the ones most religiously following the fashionable silhouettes and styles. This is why tea gowns were much more experimental, and why the counter cultural Aesthetic style, which rejected the Victorian silhouette, could first entered high society through tea gowns. Tea gowns were worn in more intimate society gatherings (afternoon tea with neighbors and friends), so there was more room to experiment with new counter cultural styles. Tea gowns in 1880s had many of the elements that would become fashionable in 1890s, looser fit in bodice, natural form bustle and even balloon sleeves. Some British middle class/upper middle class women would dress in Aesthetic dress during 1880s in public society events, but they were not part of the upper echelon of high societies and no one dressed that way in high society evening events. The old money rich people also had more room to experiment with more unconventional fashion than nouveau rich, since their position in the exclusive high society was so much more secure, even if they were not as respectable (and adhering to the fashion ideals was about respectability) as expected of high society, their connections and status protected them from consequences. Money was not enough to secure your status, you needed connections.

[drbased]

there's so much irony surrounding all the fetish imagery of female dominance it makes my head spin trying to deal with it all. the fact that the whole thing is centered around women looking and acting dangerous whilst actually being forced to perform sexually for men is so ironic and rage-inducing it makes me sick. it's a deliberate parody. it exists to tell women this is what we think of you. it's when you see someone angry and you repeat what they've said in a mocking tone of voice. female dominance fetish imagery is designed to disarm, to confuse, to tell women 'this is definitely what sexual dominance looks like, this is totally how you get back at men, peg the patriarchy teehee'

so women get dressed up in their corsets and stockings and wear a big fake penis. like how girl-children are expected to dress-up and play adult in preparation for being sexually available, whole-ass female adults are expected to dress-up and play male-adult - not in preparation for ever being the male-adult, but in a 'this is the closest you get to being a full, dominant human being'. it's always play, fetishism is play, because women are always infantalised, we're always playing at dominance, playing at being full human beings, because in the male mind dominance = full expression of humanity (it's a dog-eat-dog world, competition is the most important thing, we are most human when we are in fierce competition and not cooperation). back in reality-land women are expected to take off the fake penis and go back to being submissive and catering to men's needs. penetration = dominance and without the ability to penetrate we're nothing. and if we want to earn even a smidgen of the veneer of dominance we have to put on the costume, the hyper-feminine and hyper-submissive (feminine and submissive are synonymous) costume of the dominatrix, just to say yes sir no sir three bags full sir, I agree I'll never truly be dominant, but since you totally understand what dominance is with your big superior man-brain, I'll try on the costume and see what it's like. and just to rub it in, just to make sure women don't really like dominance, men will never truly be submissive.

when women dominate we have to peg without feeling sensation in our genitalia, we're made to be physically uncomfortable, we give men prostate orgasms, we have to flog him, to sound him, to masturbate him, to take on the mental load by telling him how to serve us instead of him just doing it anyway. and the man looks so ugly, his natural erection is locked away in an ugly metal cage, he crawls on the floor, he makes no attempt to be feminine outside of crude imitations of infantalised girlhood. so we think, oh god, is this what domination is?? this is horrible. what a horrible burden the man takes on when he dominates, is that what I look like? do I look so crude and pathetic, is my submission so burdensome? god men take on such a burden taking charge like this. poor men :( and then we go back to the kitchen. we stay feminine as penance.

[disasterstans]

I saw someone talking about Yellow being the colour they put Shannon (Chris' mom) in a lot and the fact that Buck didn't start wearing yellow till after she died.

The 911 costume designer said that they are very deliberate with their clothes and the colours and that they have meaning....

So I noticed that there are 2 very important times we see Buck in yellow (and it's the same shade)

During the will scene...

And in 7x01 when he's talking to Chris....

(the images are low quality so it looks brown but it's more of a deep yellow)

So both of these are significant scenes for the co-parenting arc (which we already knew) but the thing is both times Buck is wearing yellow in a scene something major shifts in terms of his relationship to Christopher and Eddie.

In the will scene, he moved up from just some guy who spends time with Chris and Eddie, and he's told he has legal claim to Chris should something happen. He's literally legally given a spot as part of Christopher's (and Eddie's) family.

In the scene in 7.01 he's having a talk with Chris and it gets deep. So Buck is now seen actively parenting this teen. He's taking a step up from 'fun uncle' and he's being called in to deal with actual problems in their family. Again he's wearing yellow. So does this mean he's getting another promotion this season.... maybe to Dad?🙈🙈

Idk though maybe I'm just delulu 🤔🧐🤡

Also someone pointed out that Buck, Eddie and Shannon all sat in the same spot on Chris' bed....

At this point I'm unwell🤡🤡

[pluckyredhead]

How exactly was Jon Kent’s introduction handled? Did Clark essentially just bring him out like “hey guys, here’s my 10 year old son I haven’t told you about” ?

Thank you for giving me an excuse to talk about this, because it is Extremely Comics and I love it.

The short version is that Jon and his parents are from another dimension.

The long version is that prior to the New 52 in 2011, Lois and Clark had been married for years, so when that marriage was erased in the reboot, fans were pretty unhappy.

Then in 2015, DC published an event called Convergence. The plot isn't important, but basically they pulled in all these different versions of their characters from different universes: pre-Crisis Green Lantern, vampire Batman, 70s Wonder Woman, etc. And they brought back a LOT of pre-Flashpoint versions of characters. (I've always assumed it was a test to see if they should undo the New 52 and that the answer was a resounding yes.)

And so they brought back the pre-Flashpoint Lois and Clark just for this one event. In the four years since we'd seen the characters, Lois had gotten pregnant, and during Convergence, she gave birth to Jon.

At the end of the event, the pre-Flashpoint world was destroyed, but the Lane-Kent family was able to travel to the New 52 universe. Of course, the New 52 universe already had a Superman and Lois, so the pre-Flashpoint Clark and Lois decided to just...live like normal people, which they'd never been able to do before. They changed their last names to White and moved to California to raise their son in peaceful anonymity.

So Jon spent the first 10 years of his life in California as Jonathan Samuel White, and has no idea that he's from another dimension, that he's half alien, or that his father is Superman. But then his powers start to manifest, and it turns out it's really hard to keep a secret from a kid with X-ray vision, super hearing, and Lois Lane's smarts. Eventually, his parents have to 'fess up.

Here is the key point: when the Lane-Kents came to the New 52 universe, they arrived 10 years in the past. So if that story took place in 2015, when it was published, they actually arrived in 2005. Meaning that Jon developing his powers at 10 is happening in the present day. Does that make sense?

Soon after this, the New 52 Superman dies, and pre-Flashpoint Clark is like, "Well, someone should be Superman," so he puts his costume back on and introduces himself to the Justice League/the world as the Superman of another dimension.

A bit after that, the 2016 Rebirth reboot happened, which was deliberately designed to push DC canon closer to pre-Flashpoint canon.

Then the New 52 Lois also dies, and pre-Flashpoint Lois is like "I guess I'll just go to the office and pretend to be her," which is wild because she is at least 10 and probably more like 15-20 years older than New 52 Lois. Lois Lane ages like fine wine: confirmed.

THEN Mr. Mxyzptlk kidnaps Jon and traps him in a featureless void and makes his parents forget he exists. In that void, Jon encounters the souls of the dead New 52 Clark and Lois and accidentally swaps them with his parents. Then he yells "NO YOU LOVE EACH OTHER" until they remember who they really are and merge with their pre-Flashpoint counterparts to form new, cohesive versions of Lois and Clark who are simultaneously from the current universe but also have been married for years and love their son.

This also, you know, just casually reboots the universe so that everyone remembers Lois and Clark having been married with a kid for years. So Jon was incorporated into continuity as a 10-year-old, but then the rest of his life was retconned into existence so that, like, Perry and Jimmy remember holding him as a baby and stuff. (And Jon has no memory of living as Jon White or anything like that.)

Anyway, very straightforward and normal, not completely bonkers at all.

[ofmermaidstories]

if u were bakugou's girlfriend (which u are) and got to pick out all his outfits what would you dress him in?

okay, okay first of all we gotta establish his style: he seems to favour baggier pants (🙄), and t-shirts. looser fits! i’ve always wondered if that was a deliberate choice on his part—if it hides his build (one of the manga extras says his fits tend to hide how explosively muscular he is), or if it’s like, a movement thing? like, if he had to spring into action while in his civvie gear. because his hero costume pants are also quite baggy, as well, and he tends to fling himself around like a small russian-child training for gymnastics gold medal in the olympics so—if i was buying him clothes, or trying to convince him to try new things, i’d probably keep that in mind. 🥹 because you never know when your rare date-night with your pro-hero boyfie is gonna be interrupted by some asshole with a attitude problem and a quirk to back it up!!! 🥺

so to start with, if i was sneaking pieces into his wardrobe, i’d stick with like, more of the same—the baggy pants, or at least wide-cut legs. maybe a couple of pants or shorts with a lower crotch? i would stick to blacks, and greens and oranges—his brand colours lmao—because he seems to like them. skull motifs, because i doubt great explosion murder god is ever really gonna outgrow that lmaooo. i would make a gift out of a really cool, expensive pair of sneakers. and then a little while later i would start trying to slip in a little more high end fashion. like a pair of tabi boots. 🥹 i’d try and convince him he needs a nice, tailored jacket, for fancy date nights although tbh i think those would be a rare occurrence lmfao. but once i had gained his trust with my choices, i would then slowly ramp up my campaign. 😈

we’re gonna start trying to introduce some creams, whites. bolder graphics. distressed denim. i might make a point of getting him a cool—skulls—bracelet or two, since hori’s drawn him in a couple in official art. i’d buy him a more upgraded, fancy pair of his church loafers lmfaooo. he seems to favour them outside of his hero getup and i’ve always wondered if it’s because he just can’t be fucked dealing with boots outside of his heroics? anyways. i would try and slip in something cutesy—like a decapitated teddy bear hoodie lmaooo—but if he never wore it or otherwise really hated it i would just pout and move on.

a lot of the pieces you see here are like—american and japanese streetwear brands, with a couple of fine-leather craftsmen sneaking in. i’d keep buying like that: japanese brands where the flagship store is tiny and makes you feel like you’re on the inside of a very sparse egg. local designers that try and incorporate some of those traditional physiques into their ranges: hantans in leather or a modern print, for example.

fine leather belts and boots would make more gifts—dickies work pants, because i think he’d appreciate the cut of them. the occasional techgear piece—pants cut like his pro-hero ones, for example. funny tees, maybe a vintage all might one, or an edgeshot piece. 🥺 i’d stay away from jeans just bc i think if he really wanted them he’d get ‘em from jeanist lmfaooo.

there’d be a real pleasure in playing dressups with a man that has the build of a literal superhero, lmfao. i would try really hard to honour his tastes though!!!! maybe wheedle and sulk and bribe with head scratches for more experimental pieces, or ones outside of his wheelhouse lmfao. like there was this really beautiful swan tapestry jacket on one of these sites that i think a man like bakugou—built like a god, with that intense ember glare and that shock of blond hair—would look ethereal in. 😩 but i like bakugou because he seems so decided, in a lot of things, lmfao, and if he didn’t wanna wear something, i think he just wouldn’t wear it. 🥹

[stagefoureddiediaz]

RWRB costume/ colour meta!

Ok, lets do this!!

Man have I missed writing costume/colour meta, so its good to have something to write about again! This took me far far longer than it should have - I kept getting distracted by the film while I was working on this - I'd go looking for a clip or to grab a still and end up just watching the film again 😂😂😂 but I've finished it and I hope you all enjoy it! Grab a beverage of your choice because this thing is a beast coming in at over 7000 words - I totally understand if you want to skip, but I have ADHD and do not know how to be concise 😂😂😂

Red white and royal blue employs several fun and interesting costume and colour theories (also made use of in the set design) to help tell the story of Alex and Henry. I’m not going to write a detailed meta for each costume - I just don’t have the time - but I am going to look at some costume/ colour details in focus, especially for Henry and Alex as well as highlighting other interesting choices! I also do not have the picture limit (I need more than 30!!!) to include every image I would like to, so if you want to see what I'm talking about, you might have to go check out the relevant scenes (I'll try to give you timestamps where I can!) I’ve kind of tried to do things chronologically, but I’ve left Alex and Henry to the end so if I don’t talk about them very much in the rest of this meta - that is why! putting it under a cut because its so long!

The royal Wedding

There are a couple of key themes here, the wedding party (consisting Lady Martha, Bea and Henry) have a distinct colour palette - dusty blue, dusty pink and Ivory, with the exception of Prince Phillip who is in his red Dress uniform - they’ve used a red uniform to make him stand out, convey that he is more important than the bride (what with his being in line for the throne and all that jazz) and hint at power - red is a power colour. 

I’m not sure what royal orders the collar and riband that Henry is wearing are supposed to represent as they don’t belong to a specific British order - if I had to take a punt I’d say his red collar is meant to be a AU version of a Knight Grand Cross of the order of the bath but the one he’s wearing certainly isn’t a real order in the UK (it isn’t meant to be an order of the garter as that is the highest ranking order and Henry would then also be wearing the light blue riband we see on Prince Phillip) the royal blue riband with the red edging is more i line with the night grand cross of the order of Victoria, although in real life that riband should be for in the opposite direction. My feeling is that they wanted a red collar on Henry to play into the red as a symbol of power theme they’ve used on Prince Phillip, placing Henry as having the ‘power’ in his conversation with Alex (as he is on home turf) and the royal blue sash is a deliberate choice that I will talk about later when I focus in on Henry and I think its actually pretty significant as a choice. essentially the order insignia he is wearing are not real orders which is totally fine as this is essentially and au royal family!

We do have to talk about that wedding gown - not royal in the slightest - spaghetti straps and a low back would never be allowed for a royal bride, the dress is also too long on her (but that’s a different conversation about budgets and rental gowns so we’ll let it slide here!!) and her hair should also be fully up - not in the half up do she has going on! The colour is also wrong - she would have been tied to a very limited colour palette of white or ivory - no colour in a royal wedding gown, so the blush colour we see is a no go! I totally get why they did what they did with her gown in terms of colour and I’m fine with that choice (i’ll explain more in the next paragraph), I even get the fairytale princess look they were going for with that dress -  but when you’re trying to portray a family so stuck in tradition and history etc, I can’t help but feel that they missed a trick to show her as buttoned up, conforming to the crown etc, especially as we never see her again!

At the reception we see pretty much everyone in colour of some description, with the exception on Alex and Nora who are both in black - this is why Lady Martha’s wedding dress is a pale blush pink colour rather than white. The only reason that the men aren’t in colour (if they’re not in dress uniform) is because they are wearing white tie for the formality of a royal wedding, otherwise I think we would’ve seen coloured ties or some such on them. This is intentional because the room has a general (muted) wash of colour which serves to highlight Alex and Nora, making them stand out and look like they don’t really belong. 

Its a way of creating a them and us vibe and helps to establish the rivalry between Alex and Henry - we have a British scene, full of colourful clothing and the only identified foreigners are in black and white. We actually only see a black and white colour palette for the clothing of the Americans until Alex returns from his PR fix it trip to London after cakegate, while nearly all the Brits all were colour of some description - we can see this clearly in the hospital - all the children in colour, Henry in blues and - Henrys security in coloured ties while Amy is there totally in black.

Alex himself does wear navy blue but its a dark navy and that jacket is actually two tone - black and navy and its paired with black trousers in this scene - we see it again later - paired with taupe trousers which really helps to establish this idea of colour entering Alex's world once Henry is in it.

Sets

I’m going to pause on clothing here to quickly talk about the sets in the film and their colour palettes because they fall into three distinct categories;

We have the sage dusty greens, gold and bright reds of the British spaces - they have a regency and victorian air to them, all very traditional, opulent and royal in feel - they are the definition of a gilded cage and are ostentatious and Henry’s bedroom even fits into this mould (its very telling that we only see very limited physical intimacy between the two of them in this space - because its a space that neither of them truly fit or belong in) with its sagely green walls that echo the green walls of the state room the big royal family showdown occurs in. 

Then we have the creams, taupes and beiges (with a bit of minty green for the walls of oval office) of the America spaces combined with the very intentional colour choice of that rusty orange (there is also the red room but that is a whole other conversation - I’ll go into it later).

The Rusty orange is such a colour choice, its rich and eye-catching. All colours have meanings associated with them - these can vary wildly depending on where and how they are used and have both positive and negative connotations.

Generally speaking, orange is an attention grabber - its energetic and stimulating, but it also conveys transformation and endurance. This orange has brown undertones which means we should also reference brown colour meanings when thinking about what the colour means on screen - brown is a safe colour and it is also strong and reliable, but it can also portray a sense of loneliness - that is something I think is a really interesting concept - we see Henry in Alex’s world (through the text chats as well as in the first blowjob scene) on the rusty orange sofas and one of the underlying major parts of who Henry is, he is enduring like the orange (and his royal status make him an attention grabber without needing to try) but there is that underlying sense of loneliness - yes he might’ve had a crush on Alex since the climate conference, but as soon as the air had been cleared between them during the PR trip Henry reached out and pursued Alex because he was lonely and wanted a friend - not knowing if it could ever be more than a friendship.

Then, finally we have the spaces Henry and Alex occupy - spaces which are just theirs to occupy - spaces when they are themselves - these are predominately yellow and blue spaces, with some deep colours such as the teal we see on the walls of Alex’s room and the red room.

I’ll go into more detail about all the yellow and blue in this film a bit later on in this meta, but to provide a comment on the red room - red is a colour of passion and love, but this shade of red they’ve chosen maintains that orange undertone we see in the rest of the American spaces.

I wrote a post on the choice of red calla lilies and how they are both a symbol of love and commitment, as well as a phallic symbol of sexuality, and I know Alexander Hamilton was on the wall in the book, but he is there not only because he was very likely bi, but also because he was the subject of what is known as the first political sex scandal - something our boys are essentially also themselves going to end up becoming!

Once Alex does return stateside we start to see colour begin to fill his world. This is a really interesting thematic choice - think how the wizard of Oz (a film very much associated with gay culture - ‘a friend of Dorothy’ was a slang code used by gay men to identify one another and there is obviously the rainbow connotation) begins in black and white and then transitions to colour as soon as Dorothy wakes up in Oz. This film is playing on that same trope/ concept - this is a story essentially told from Alex’s perspective, so Henry and his world is already in colour - its only when Alex enters that world and becomes entwined with it that colour starts to seep into his life - its done in a much more subtle way, but it is there - even during the text bantering they have going one while he is watching a film with Nora - it is a black and white film (‘Some Like it Hot’ - its self a film that helped open conversations about queer identity and the queer community at a time when the Hays code was still in operation and when Sodomy laws still existed in the US, but that is a whole other conversation and lots has been written about it before, its one of my favourite films and if you want to know more then head to your search engine of choice or hit up my inbox! It’s also a film our director Matthew Lopez adapted for the stage which is possibly partly why it was chosen for this scene- as a nod to his other work!)and they are both wearing grey while Henry is in colour (cream and blue - playing into the queer coded yellow blue theming) and sits on the bright orange sofa.

I cannot tell you how much I am in love with the Koi carp on Alex��s dressing room wall because the symbolism - the symbolism!!!!! Koi are seen as a symbol of strength, patience, perseverance, love and bravery they symbolise success through courage. Koi are known to swim against the current and overcome great obstacles - there is a Japanese proverb ‘Koi no Takinobori’ which translates as 'koi swim up waterfalls' and as the word Koi in Japanese also translates to mean love the proverb therefore means that love can go against the current and overcome great obstacles and if that isn’t the perfect metaphor for Alex and Henry’s relationship then I don’t know what is!!

I am obsessed and I adore the set designer for including that wallpaper in general, but especially in their text banter flirty developing relationship - the writing is essentially on the wall for where their relationship is going and how its going to unfold - they are literally Koi swimming agains the current and overcoming great obstacles to be together!!

Back to the costuming!

As I said previously - when Alex returns from the PR trip we start to see increasing amounts of colour and it starts with blue - Oscar is wearing a blue shirt - a colour we only see him in for that scene and then again at the end of the film - during election night. Its an important choice - Henry's colour is blue - its the colour we nearly always see him in some form of blue so for this to essentially be the first colour that appears in the clothing in Alex's world is telling in its own way - it is the beginning of the slow saturation of Henry in the world of Alex. Oscar is always in tan colour-ways apart from those two scenes and generally speaking we see him wearing Mexican tribal and geometric prints/patterns and cowboy boots - playing into his Mexican heritage, but also establishing him as Texan.

Miguel is clearly set out as the baddie to us all - head to toe  in black all the time expect at the PM dinner - when he has to wear a white shirt because its etiquette - but they do make sure to give him black buttons on that shirt - which separates him from everyone else in dinner dress very clearly and keeps the undertone of untrustworthiness going.

The other thing to note is the grey fuzzy jacket he wears when being interviewed on the news. I’ve spoken before in my 911 meta’s about how the use of the grey fuzzy patterning is symbolic of confusion or obfuscation and that holds true here - Miguel is called out as being the one who hacked and leaked the emails by the presenter and he tries to bluff his way out - to obfuscate the truth.

We see the idea of green and jealousy play out a couple of times in the film - the flirty girl that tries to commandeer Alex and kisses him at the NYE party is wearing a very blatantly iridescent green dress which sets her apart from the rest of the crowd and then when the crowd drops low we also get the green lights on the DJ desk - while the scene is a play on the I saw you across a crowded room idea, there is also that undercurrent of jealousy - Henry is Jealous of Alex’s ease and that he cannot have him loudly and in the way he wants - highlighting that jealousy helps to build into Henrys later actions when he throws caution to the wind and kisses him under the tree. 

Ellen Claremont has a narrow colour palette as well - we only see her in black in that first scene and in the ‘new Texas strategy’ arguement with Alex, after that her dominant colour is cream and we also see plenty of red which is a power choice - she wears it in scenes when she needs to convey power and status such as at the PM dinner or when she is shutting down his Texas strategy. The cream is the base colour for her - its a colour of elegance, sophistication, it is also a neutral colour - playing into her position as POTUS, but also when she wears it in one on one scenes with Alex, it is a sign of her being a mother rather than the POTUS.

Zahra tends to wear blacks with one blue/grey cashmere jumper and when we do get colour on her they are jewel tones - purple and teal. We also get some more grey fuzzy patterning - again playing into my previous statements - here it is very much about confusion rather than obfuscation - she only wears the fuzzy grey when she finds out about Alex and Henry and has her mind blown by the knowledge. Its a perfect costuming choice for this scene as it conveys so much about where her brain is - that her mind has been blown by this huge thing she as just become privy to and it helps make her facial expressions even louder!

Nora wears a full spectrum of colours, the stand ones are obviously the red bodice and trousers she wears for new years and the pink shirt she wears in the office when Alex is having a mini bi panic and figuring himself and his attraction to Henry out. Generally speaking a characters costumes are meant to be about them and their own character, however with a film like this, everything is a driving point for the two main characters and so, other characters costumes will, at key points be less about the character wearing them and more about driving the story of the mains forward - this is very much the case with Nora’s red outfit (and we have already talked about the green of the flirty girl at new years representing jealousy).The red is very very red, it is meant to stand out and is a nod to romance - for both herself with Pez and for Alex and Henry, but Red is also a colour associated with passion and sexuality as well as fire and heat - essentially it is a marker that things are about to kick into action on the romance scale - we are heading from friends to lovers.

The pink shirt plays into the same theme - its a continuation, but a cooling down - less about the heat and passion of a sexual encounter, and more about the concept of romance and relationships - because that is what the conversation is ultimately about in this scene. We have the bi flag background helping to visually tell us what the conversation is about, but we also need to have that subtle reminder that this is not about fire and passion it is about the potential for romance - for love - because if Alex is going to hook up with Henry, it isn’t going to be a hook up, it going to be real. We do of course see things heat back up in the red room (as they should), but ultimately that is the last of the fiery heat we see - from then on anything connected with Alex and Henrys relationship is much more steadfast - the blues and yellows I will talk about in a minute!

Lets talk signet rings!! We see them worn on the male members of the royal family - so King James, Phillip and Henry - as well as Alex when Henry gives him his ring. their use is telling and significant. James and Phillip both wear their signet ring on the little finger of the right hand, while Henry (and Alex) wears his on the little finger of the left hand. in a general sense one would usually wear a signet ring on the little ringer of the non dominant hand - so if you’re a lefty you wear it on the right hand and vice versa if your right handed. This is not what is being portrayed here - all three of them are naturally right handed (yes I did spend far too much time on google to find this out!!) which would in theory mean all of them should have their rings on the left little finger and yet only Henry does.

There is however another explanation -  a ring worn on the right hand is symbolic of tradition conformity and rigidity and royalty (traditionally the monarch would wear a ring on the right hand and this was offered to subjects to kiss), wearing it on the dominant hand as a sign of power/ dominance. Henry and then Alex wear Henry’s ring on the left hand - the traditional hand that wedding bands are worn - because of the concept of the main artery running from the heart down the left arm and into the left hand, it is a symbol of love and life and connection to another person and is where the concept of the red string of fate comes from (which ties in nicely with Alex referring to the rope in his chest pulling him towards Henry). This all gains greater significance when Henry gives his ring to Alex and that he choses to also wear it on the left hand, its essentially a symbol of engagement and eternity - it is a sort of pre engagement I guess - and is a low key statement from Henry he is giving Henry Fox to someone for eternity - to Alex. 

Right, shall we talk about the yellow and blue theming that I keep mentioning. This specific theming, tends to be seen more in sets and lighting than costumes - although we do see it used in costuming too (looking at you Bea!!). For those not aware, there is a tendency to use yellow and blue colour-ways for queer story arcs - if you look at Heartstopper (esp s1) they have been using it to great effect , and it can be seen in other shows and films with queer character arcs to such as 911 (and Lonestar), as well as plenty of other mainstream media if you’re looking for it. I don’t know when or how it became a colour way associated with queer relationships - especially mlm relationships - I’ve not had the time to deep dive into that particular research spiral - but suffice to say we see it put to very very great effect here in Red White and Royal Blue - we only ever see it used as a colour way when it is regarding Alex and Henry and their romantic relationshipI’ve included some of the blue and yellow we see (couldn’t fit it all in - 30 pictures is apparently not enough!!!) surrounding Alex and Henry and there is plenty of it. The first time we see this yellow/blue theming come into play is at the turning point - when Henry opens up the lines of communication with his text message. Alex is in his room - the first time we’re seeing into his room - a room painted dark blue and full of yellow accents - the lamp on his desk and the unit to the side of the sofa, as well as the very yellow and blue painting we see above his bed (which was commissioned for the film and so the colour choice was very much deliberate). Just to show how prolific the yellow/blue colour way is here is a list of most of the occurrences - I've tried to include as many of them in the pictures as I can as well.

The copy of People is yellow and blue, the Jacket Alex wears for new year has gold and blue embroidery. The PM’s dinner has blue lighting with gold curtains and there are a lot of blue and yellow dresses being worn in the crowd when Alex is watching Henry. The cushion on the sofa behind Alex is yellow and blue. Then we get to the French hotel room and the Eiffel Tower - it is literally all yellow and blue - everything - even down to the blue (extra safe) condom packets. the New York hotel room is dark blue and gold another is a blue bottle of lube on the side (the condoms and lube are very much a deliberate colour choice - there are a million different colours you can buy both in so if the colour wasn’t important they could’ve chosen any, esp as fuchsia and red is the most common colour for both in the durex brand in the UK).

In England - Henry mostly occupies green spaces - in keeping with the royal theme I wrote about earlier - however the room he is most himself and most comfortable in is the music room/ library which is yellow and any time we see him in that space, he is wearing blue. It is telling that when the emails between Henry and Alex are hacked, his sanctuary is full of ‘old white men in suits’ and Henry cannot go in there - symbolic that who he is - his true self - has been violated and he is being forced into ‘royal coded’ spaces - back into his box as it were!

Back to costumes and he two blue hoodies. I’m gonna get a bit of hate for this, but the blue hoodie is actually two different hoodies! - they are slightly different shades of pale blue - Alex’s is much more dusty blue, while Henry’s is much more baby blue, they are also different cuts - Alex’s a traditional sleeve cut while Henry’s has a raglan sleeve cut (think baseball tee). There is the idea with these two hoodies that they are at different points in their journeys, but still connected and i love that we see them in them at really key points of crisis - they are a comfort blanket in a way - Alex wears his during is bi crisis and again when he's watching Miguel on the news and figures out who the hack was, while Henry wears his when he lets Alex in - when he opens up and unspokenly confesses his love for Alex, when he agreed to take the step and be brave - both are wearing these hoodies in moments when they need/want comfort the fact that they are wearing such similar hoodies speaks to the fact that in it is the other they want that comfort from (even if Alex doesn't actually realise it during his min bi crisis).

And now to our two mains - lets start with Henry.

Henry

The bulk of Henry’s wardrobe is double breasted suits - a key theme for the members of the royal family - not one else where’s them - its a fun costuming choice, cease generally speaking the double breasted suit isn’t in fashion at the moment - the film fit single breasted suits we see on the rest of the characters is. It's a very clear choice to create a them and us concept in a visual and telling way. the other thing to note about these db suits is that only Henry wears plain fabric - the ones we see on Phillip and James are pinstripe or woven stripe. I want to quickly mention the tie King James is wearing because of its very obvious pattern. it is the only loudly patterned tie in the entire film - all others are either, plain , striped or spotted. In the book Henry says that patterned ties are considered too political (i'm paraphrasing and can't find the actual quote!!) and here we have a king playing with politics wearing a patterned tie - I love tiny nods like this to the original source material that only those of us who love the book will pick up on - its just a tie to the ga!

Henry himself wears pinstripes - when he is at his most royal - so for example when he is taking part in the PR exercise post cakegate. His ties also fit into this theming - he almost exclusively wears striped ties excepting at a couple of key moments - when he’s undertaking skulduggery and the yellow one he wears for the election. at all other times he has stripes on his tie. the stripes get wider or skinnier depending on the situation - the wide ones tend to be for royal events while the skinnier stripes tend to be connected to Alex.

Another thing to note with Henry is the lack of black he wears - the only time is at the most royal of occasions - the wedding - all the rest of his suits are varying shades of blue or grey (and cream) even the tux he wears to the PM dinner is a dark navy with black lapel rather than black - it differentiates him from everyone else in the room (esp Miguel) and shows him as the object of Alex’s gaze. I also want to mention the royal blue theme we see on him - something I love Keith Madden for doing - Henry nearly always has something blue on him and a lot of the time (especially connected to times when he is doing something connected to his status as a royal) we see him wearing something royal blue - its why his riband at the wedding is royal blue rather than the lighter blue of the order of the garter - but we also see it in the royal blue socks we see him in several times, the royal blue pyjamas when the hack/leak comes to light and the blue shorts in Texas when he’s lying on the bed before he leaves to return to England. We also see him in a lot of blue shirts keeping that blue theme connected to him.

Then there is my most beloved check theory - (its a theory connected to 911 for those who don’t know my costume metas already) Check is connected to foreshadowing of trouble - Henry wears a check/plaid pattern at a couple of very very key moments - at the bar in Texas - when we see Alex realise his love is the forever kind, when he is back in England having broken his own heart in a misguided attempt to save Alex (gingham shirts in pink and blue) and then the suit he wears when he choses himself over the crown and steps out onto the balcony with Alex to greet the crowds has a subtle check pattern (not sure if you can see it its the pictures but if you watch the scene you should be able to) all of these are moments which foreshadow the upcoming or current trouble in his life.

Yellow roses - symbol of Texas being flipped - from Mexican to independent (and eventually becoming part of US) - symbol of the fact Texas is about to flip blue from red. Yellow roses are also a symbol of good luck more generally and the yellow tie is a great choice to suggest neutrality in the election scenes (at this point in time Henry still has royal status). We see Henry in a grey suit with this yellow tie - this only further highlights his escape from royal life - when he is un the US we do not see him wearing the navy blue suits we see him in in England - the only exception is the dark navy dinner jacket he wears to the PM dinner . In the US he wears either a grey suit or the cream/light blue suit we see him in when he visits the lake house and the light blue linen jacket we see him on his light back to the UK is the only single breasted jacket we ever see him in - I would have loved to have seen the grey suit at the end also have been single breasted, but I'm guessing budget constraints prevented that from happening, as it really would've highlighted the difference between Henry George Edward James Hanover-Stuart Fox and Henry Fox!

At the lake house we get a piece of costuming that I love - the slightly differing short lengths we see on Henry and Alex - it Alex’s shorts are always shorter than Henry’s - it maintains that sense of Henry be more closeted and buttoned up - the overhead shot of them on the pontoon shows it really clearly - the two of them have similar leg lengths which serves me well here to show this point - the shorts Henry is wearing are at least 3 inches longer (possibly more) than Alex's - it isn't just that one pair of shorts - all 3 pairs of Henry's shorts are longer - its a costuming choice thats s perfectly in keeping with their respective characters.

The final thing to talk bout is Henry’s rainbow turtle swim shorts - a cute nod to his being gay - especially as Alex is is his purple bi swim shorts. But there is also the fact that they are turtles. Turtles are a symbol of steadfastness, longevity, perseverance and transformation. they can also be seen as a symbol of everlasting love. there is also the concept of carrying the weight of the world - which is seen in its most explicit way in Terry Pratchett’s Discworld novels - where a giant turtle carries the world on its back. All of these metaphors and symbols perfectly fit Henry and his relationship with Alex - it is a symbol of the enduring nature of their love for each other, the perseverance we will see for them to overcome the obstacles thrown at them, the steadfastness of their love, as well the transformation we are seeing Henry go through - from closeted gay thinking he has to conform to the very rigid and dated ideals of his family - to the freer Henry we see in the US - the real Henry and the version of himself he so desperately wants to be but thinks he can’t - he has the weight of the world on his shoulders at that moment a la the disc world turtle.

Alex

Alex, obviously has the largest number of costumes, as well as the largest colour palette, but even that is pretty limited. In the same way we see Henry’s wardrobe go through a subtle transformation, we also see the same for Alex, almost in the opposite direction - while Henry’s wardrobe becomes freer, Alex’s becomes more grown up - more mature and conveys his growth as a person - becoming more certain in who he is. I’ve already written a fair amount throughs this meta about Alex’s costumes, so this section is a little shorter than Henry’s for that reason! 

We get rebellious Alex to begin with - the leather jacket easily conveys this to us, its almost a universal symbol or rebellion in costuming speak at this point and one of the reasons I like its use here is that it very quickly sets him apart from everyone else in the film - yes its early on, but he is the most casually dressed character by a long way - and this jacket it the antithesis of the buttoned up penguin suit from the wedding - it emphasises how uncomfortable Alex was in that environment and as a result gives the heavy drinking we saw before the cake went flying purpose and visually sets him up as the lead and as a rule/ convention breaker. The same is true of the greyscale with leopard print Hawaiian shirt which is meant to contrast him dramatically with Henry, who is still stuck in that stuffy double breasted suit prison of convention and expectation to behave a certain way - the costuming does a big chunk of the work in giving us rebel v prince in those opening scenes. I actually like that they brought the leather jacket back for the drive to the lake house - it sets up Alex’s falling in love arc nicely - in that it allows the idea of rebellion to continue flowing through the story - Alex wanting to be outing proud in Austin and not grasping that that isn’t an option Henry at this moment in time and is a nod to his not really understanding the different places he and Henry are in when it comes to what being out means for them respectively.

I’ve already written about the black and white colour way we see him in until his PR stint when we start see colour appearing in his wardrobe. I’ve put the pictures roughly in chronological order because it helps to show his progression, but it also shows the increasing amount of blue in his wardrobe, especially in moments connected with Henry.

To pick out some of my favourites - the Mexican pattern shirt with the red cardigan is wonderful - we have the shirt hinting at Alex’s heritage - in blue with the chunky knit red cardigan - I’ve written above about the use offered as a colour of passion and how that passion ebbs and flows - this cardigan also plays into that idea - it is the first time their texting becomes flirty - even the text message is in a red bubble on screen. This idea carries on with the orange red tee he is wearing during the turkey conversation - I made a post about that outfit being the same colour way as the turkey in question and how to talk turkey means to talk honestly and openly with someone - the very thing we see in that scene. 

I adore the subtle yellow and blue jacquard embroidered New years jacket - the moment our boys connect and we move further into the lovers part of the enemies-friends-lovers trope and it keeps the yellow/blue theming an active part of the storyline. - the contrast with Henry’s orange tie is a choice - while there is a lot of colour at the NYE party Alex blends into the background while Henry is quite literally tied into the orange theme we’ve already seen in the furniture and sets - orange stands out and now we the audience are being drawn into unconsciously making the same connection that Alex is making - Henry is lonely, but he is an enduring and attention grabbing part of Alex’s life - it only further reenforces the direction of Alex’s gaze - green wearing flirty girl who??

We have a fair amount of Alex and the bi colour ways and we subtly see it coming into play from more or less the moment they start messaging - the light purple tee and purple message boxes, flowing through to the women sufferage wall and the fact he is wearing blue and purple in that scene with Nora in pink to round out the there colours. then we have the blue and purple colour ways he wears at the lake house - bolder and brighter - contrasting with the more muted shades from before - showing that he has recognised and accepted that part of who he is - he’ now out and proud and his parent know about him. I’ve used the old subtle a lot, but this is yet another example of transformation and growth for a character done subtly through colour. We also see him bathed in bi lighting at the bar when he has his 'OH I feel forever about him' moment at the Texas bar - he is the only one in that whole scene lit in that way - Henry is blue lit, while there is a more general lighting scheme that is blue/red dominant for the bar as a whole.

On to Alex’s suits and ties - he seems to have 5 suits and a jacket (not including the formal wear - tux and tails) a black one, 2 navy blue ones (one with a woven pinstripe that he wears in Paris) a bright bluish grey one and a grey one along with the black and blue waffle jacket we see him wear both on the PR trip and at the Polo match. I am obsessed with the fact that when he is in England he wears the navy suits and jackets whereas in the US he wears the other colour s suits - in the same way we see Henry less buttoned up and wearing grey and lighter blues in the US, here we see Alex fitting into Henry’s world and the navy blue suit uniform of the Royal family - its a wonderful piece of costuming that tells so much of how each of them are fitting into the others worlds, especially wen the black and navy waffle one is only worn early on - it is the cross over garment!

The ties have  a similar story to tell - we see him wearing 4 ties - a yellow one we see in the beginning in the news reel and never see him in again and then we get the lighter blue striped one at the polo match - the one most similar to the striped ones we see Henry wear - suggesting he is trying to fit into this new world - Henry’s world - that he’s been invited into - its somewhat jarring for his character and plays on the idea of trying too hard - its therefore telling we don’t see it happen again - we only see hi in a striped tie again at he end during election night and accompanied by the black suit we saw him in a couple of times on the campaign trail in Texas. the blue tie is the only other tie we see him wear and it nicely connects all the key moments he has while in his suit - key political moments - his speech at the DNC followed by his speech to the press after the email hack and when he is at Buckingham Palace facing up to the King.

The final ting to talk about is the khaki green shirt jacket - I cannot tell you how happy I was with this costuming choice (and not because it was screaming Eddie Diaz from 911 vibes) khaki is so associated with military - with the army - anti is the most perfect choice for this scene - army are about war - they go somewhere to fight - to storm the palace etc so to have Alex - who has never worn anything remotely like this before rock up to KP to fight for his relationship - for his love - is the perfect choice, its a subtle yet clever way of emphasising the Alex has chosen to fight for what he wants - for his relationship with Henry and what makes it more telling is that we only see him change out of it once Henry has explicitly stated that he will try to be brave and that he wants history to include his love for Alex. It is why we see Alex in the yellow and blue Mexican patterned jacket - he no longer needs fight for his love because he has won - this yellow/blue jacket is a piece of costume tied into pivotal moments - we see the jacket twice - when he wins his bid to get the Claremont campaign to focus on Texas and Ellen tells him he’s going to Texas, and again when he has won the day with Henry and they are back together - in some ways that makes this his victory jacket - victory in his own personal battles - battles that are central to who he is and his development and I think that’s petty neat!

Hopefully you've enjoyed this deep dive into the sets and costumes of the film - I've loved writing it and I can only hope its coherent! Feel free to hit me up with any questions or comments and likes and reblogs are love ❤️🤍💙 thank you for reading and until next time...