i don’t think i’ve seen any kind of tumblr analysis that so far does justice to the face journey crowley goes through when he first meets aziraphale and finds out about the sword.

for context’s sake, this is how he reacts when he finds out aziraphale’s got rid of his own sword:

see that? that’s surprise, that’s unexpectedly-impressed, that’s holy-shit-this-is-an-angel-fucking-up-this-delights me. this is is this a rebellion? can angels rebel? i love it, five minutes on this strange green-and-blue rock and i’ve already found a playmate.

then compare with this, which is crowley hearing aziraphale explain why he ‘rebelled’ by giving away said sword: to whit, freezing cold, dangerous animals, pregnant woman:

that’s…dare i say it, tender? soft? certainly no less surprised but unexplicably, unexpectedly, touched. you can almost see the little flinch he experiences from that not-so-subtle heartflip that has just occurred. oh. oh. he didn’t lose his sword because he’s a brainless angel, or because he wanted to cause some trouble or stick it to the almighty he was just…being nice.

like, whatever reason the forces of hell had for rebelling, they sure as hell didn’t do it for nice reasons. i’m pretty certain, judging by the hell we see onscreen, that compassion features pretty heavily Down There. (nor, judging by the likes of gabriel or sandalphon, can i imagine angels are exactly known for their compassion amongst their demonic counterparts). crowley has come to earth expecting exactly 0% heartstrings-pulling, and then within the first half hour he meets this fluffy soft boi who smiles rather shyly even when he’s not supposed to and is painfully loyal to his boss even when he doesn’t understand Her ways and then does something daft like that, like giving away a heavenly flaming sword to a human for no other reason other than it’s a kind thing to do

and he’s an angel, they’re not supposed to do the wrong thing for the right reason, they’re sticklers, and yet look at what he’s just done…

and the next thing you know, crowley’s falling harder and faster than the day lucifer and the guys rocked up and asked ‘hey crawley, you up to anything today?’. and that is glorious.

good omens + tumblr text posts

aziraphale’s shoes in paris oh my fucking god i literally cannot handle him??????????

waitwaitwait forget his fucking shoes i need to fucking go apeshit FERAL over the next shot. i swear to god how many layers does this show have??? i have never in my whole LIFE seen a show where quite literally every frame has MULTIPLE LAYERS OF MEANING.

this fucking scene. the scene in which aziraphale realizes his love is THAT kind of love for crowley. he’s got BURNING WINGS behind him. he’s got a fucking inverted cross beside him. he is standing in the rubble of a motherfucking church. he’s standing amongst the flames. and yet he is still in the light while crowley stands in the dark.

the foreshadowing here is fucking ridiculous. the metaphors are fucking ridiculous. i can’t fucking handle how much fucking thought went into every shot. i swear if they don’t get some sort of award for the next level storytelling with framing and blocking alone i’m gonna RIOT.

There's a lot of missed potential as far as interactions between Madame Tracy and Anathema go. I mean, a woman that fakes being a psychic and a witch that's lived her whole life by the prophesies of a long dead relative, they'd have a lot to talk about I think.

Beelzebub vs. Michael

fancy pigeon aziraphale and amphiptere crowley!

+ pin designs i did almost immediately afterwards for shits except now i want them and will make them regardless of demand

once aziraphale’s allowed, once he’s unleashed, he is going to have such a plethora of stupid petnames for crowley. first because he’s affectionate naturally, but primarily because he likes to watch crowley blush and fluster his way through it. dear boy and darling are the obvious ones. he knows he’s only going to get away with cupcake once, so he makes it count by saying it very loudly and very publicly when somebody gets a little too flirtatious with crowley, which, worth it. he uses sunshine but only first thing in the mornings. sometimes when he gets drunk he calls crowley favourite person which makes crowley blush something fierce and giggle. gorgeous and beautiful are certain sorts of names for certain sorts of moments, and they make crowley clutch at aziraphale and draw him closer. and sometimes, when the nights are quiet and soft and crowley is half-asleep on the sofa, aziraphale brushes his hair back and says let’s go to bed, sweetheart. 

crowley only ever calls aziraphale angel. not because it defines aziraphale, not because it defines their differences. not because aziraphale’s divine. he calls aziraphale angel because when crowley was afraid, aziraphale lifted his wing to protect him. when crowley had to do bad, aziraphale saw in him the good. when crowley was going to give up, aziraphale gave him a hand and the courage to go on. aziraphale loves him, truly, without question, without caveat. aziraphale chose him, will always choose him. aziraphale isn’t just any old angel. aziraphale is crowley’s angel. 

When you’re just FUCKIN gay

An AU where Crowley owned a plant shop.

Anathema:”Time to play Bentley or Aziraphale! Did Crowley say this to his Bentley or to Aziraphale?”

Anathema:”Next up:I will always love and cherish you forever”

Newt:”I’m gonna say Aziraphale”

Aziraphale:”No it’s probably the Bentley”

Crowley:”Come on. This game isn’t that funny”

Anathema:”It was the Bentley”

Script: Hastur stares in horror

Ned Dennehy: a full minute of shrill screaming

@stanford-pines you're so right

I just realised for how long Aziraphale keeps staring at Crowley after Crowley’s already looking at the nun. Aziraphale scans Crowley’s face and only then looks away, so slowly, god, Michael Sheen’s acting is killing me these days.

Aziraphale in the paintball scene, though. I mean, seriously, y’all

Look

at

this

absolute

nerd

Especially that last gif! This is an angel that is literally thousands of years old, he helped create the motherfuckin’ universe, and he is p o u t i n g at Crowley over some paint on his jacket that he could EASILY remove himself.

But wait! There’s more!

Not only has Aziraphale already shown Crowley the stain, but Crowley has already circled him to assess the damage for himself.

And yet, after saying, “Well, I would always know the stain was there,” with that little pout, he turns to show Crowley the stain again.

And then! AND THEN!!

He gives Crowley this look.

Do you see the little raise of his eyebrows??? LOOK AGAIN

He could very easily get rid of this stain himself, but he is doing E V E R Y T H I N G in his power to get Crowley to do it for him.

“I could do this myself,” he’s saying, “but I’d rather you do it. You can do it better than me, can’t you? Please? Please, won’t you???”

The funniest part about this, fam, is that we all know Crowley needs very little prompting to actually indulge Aziraphale’s whims. He’s incredibly indulgent, anyways, we see ample evidence of that in Hard Times.

But this…I think (?) this is the first time that we see Aziraphale actively seeking out and trying to manipulate his way into getting one of those acts of service that Crowley so does like to give to him.

Like, sure, back during the Shakespeare scene, Aziraphale gives Crowley that very hopeful, “oh, WILL YOU?” look when Shakespeare mentions needing a miracle for Hamlet, but that is so different from this.

This is Aziraphale KNOWING that Crowley indulges and using that knowledge for his personal gain.

AND CROWLEY GIVES IT TO HIM. HE JUST. DOES.

That is the face of a spoiled angel that has gotten exactly what he wanted–a certain demon’s love and attention.

And that look Crowley gives him is just as devastating to me as Aziraphale’s sunshine smile over getting what he wanted.

That is a look of UTTER INDULGENCE.

He absolutely knows he’s been played but is happy to let it happen, because there is nothing quite as satisfying as indulging Aziraphale.

That is a look that says, “You’re so obvious, angel, and it’s adorable.”

He’s made his angel happy, what the fuck does he care?

The switcheroo scene: The real angst comes from Aziraphale looking at the holy water and Crowley looking at the hellfire, and both of them thinking the exact same thing.  “My God, what if we hadn’t figured out the prophecy?  What if it was him standing here instead of me?  This is how he would have died, alone and in agony and surrounded by people who hate him.”

Gabz breaks down the cinematography of Good Omens (part 3/?)

A DISTINCT LOOK FOR EVERY ERA

This one cleared up some questions I had myself. After this, I’m diving into all the requests. I noticed how throughout episode three’s adventure through Crowley and Aziraphale’s relationship the color grading for each part of time was different. I honestly thought it was just an oversight by the colorist or something that slipped by (there are some discrepancies in the lighting/grading of the pep talk to Adam scene, so that’s why I didn’t think much about it).

Here’s one reason why film is an art form. It was an intentional choice on the part of our DP icon, Gavin Finney. He felt he needed to give each period its own look. So he used DaVinci Resolve to apply the first pass of time period-specific looks to the dailies. This helped to keep the editors on the same page, so that the full final grade was cohesive. Color grading is one of the most important processes in telling a story and can often be overlooked by viewers. I was curious how it would look, so I created a color palette for each era to help highlight the differences.

Mesopotamia, 3004 B.C.

Grays and light browns dominate this era. It’s cool and shadows aren’t as harsh as the light is diffused by the cloud layer.

Golgotha, 33 A.D.

The palette gets warmer browns and a vinette that highlights the harsher light and temperature.

Rome, 41 A.D.

Again, this palette is warmer, but introduces some new colors. The light is dusty and gives everything a softer look.

The Kingdom of Wessex, 537 A.D.

This era is represented by a desaturated and cold look comprised of silver colors. It’s basically metallic washed.

The Globe Theatre, London, 1601

Back to lighter tones. There’s almost a pinkish tint to everything. It’s mostly browns and muted grays.

Paris, 1793

There’s more of a range of colors here, yet they are darker because of the higher contrast look. There’s not a whole lot of light in this scene, so that accounts for the darkness.

St. James’s Park, London, 1862

This look is very distinct as it takes a yellow/sepia tint that gives it that old-timey feel. It turns greens into mustards and gives everything a brownish look.

London, 1941

Probably my favorite grade of all of them. Even with the candle light, the blue palette consumes the whole scene. The harsh falloff in the shadows/contrast is straight out of a film noir and compliments the mood of the scene (and the time period) perfectly.

Soho, London, 1967

This is another favorite look that borrows the use of vibrant and bright colors that thrived in the Technicolor processing of the time (which is also the processing that the early James Bond films used) And because it’s a night scene, it’s the easiest (and flashiest) way to light your subjects.

It’s a lot easier to catch the distinct look of every era when you put the palettes next to each other. As always, mad respect for Gavin Finney and colorist team. Yet another example of the little details mattering!

Color and light are two huge components of cinematography. The clever use of both really show a strong understanding of how they affect moods and atmospheres, not only in the scene itself, but in the audience’s experience. Often color is used to get the viewer to think or feel a certain way and it’s something that is absolutely facsinating (well, at least to me)!

Cute running techniques with A.Z. Fell

but she wears short skirts

i wear t-shirts

she’s cheer captain

and i’m on the bleachers

dreaming about the day when you wake up and find

that what you’re looking for has been here the whole time