Latest Posts by eatmyjuicyshorts - Page 3

Incredible..

now that i am a real adult i am starting to realise. media lied to me about the availability of rooftops to go hang out on. every day i wish i could be hanging out on a rooftop somewhere looking cool as fuck

the luffy effect

tintin’s phone

Chang for the character ask (if you're still doing that)

(Tumblr decided to only show me this message like 10 days after it was sent, so I can absolutely provide! Tumblr fix your Javascript already)

First impression: My very earliest recollection of Chang is of rewatching the 1991 series in high school, and thinking, "This kid's cheekbones are angular"

Impression now: Chang is a delight! I love his hijinks with Tintin, and I really wish we got to see more of him in the series.

Favourite moment: Probably the scene at the end of Blue Lotus when Tintin is having dinner with Chang, the Wang family, and the Sons. It's a joyous but bittersweet moment where Chang now has a family again, but Tintin has to return to Belgium, leading to Chang saying he has a "rainbow in [his] heart". It's the gayest canon moment in the series and I can't believe it hasn't caught on more.

Idea for a story: Chang integrating with the Wang family. He's lost his family twice before, and it must be difficult to try and get adjusted again...oh man, I just realized he then almost dies in a plane crash months later. He's been through so much. If anyone wanted to make a big hurt/comfort fic, try writing about the series from Chang's perspective

Unpopular opinion: the 1991 series really did Chang dirty. He has less to do in the animated version, and he's suddenly younger and has razor-sharp cheekbones. I wonder if they were trying to make Chang look less like the real-life young Zhang Chongren? That's the only reason I can think of for why they changed his design so much

Favourite relationship: Tintin/Chang; I kinda headcanon them both as asexual, and that they'd be the most ridiculously schmaltzy couple ever

Favourite headcanon: I really like @professorcalculusstanaccount 's take on an older Chang in their Roswell AU...he's got a sort of greaser style too, slick but still fashionable, since the setting is somewhere around the 1950s-60s. It's a very clever take on his character!

my friends jokingly suggested a modern reboot of tintin and we realised it would only a) highlight how messed up tintin’s situation is and b) show how little the world has really changed in the last century

have a peek into my sketchbook. click pictures for captions

i was energised to Manifest our ideas when i saw  @aboardthescheherazade ‘s amazingly cursed comic about Rastapopoulos and NFTs

also zoomer tintin would be fucking terrifying 

Love a good nap

Chang's Muse

Heheh(sound on)

laios985

Exorcism Sorbet! The gems are gummies.

judge, jury, executioner my piece for the op villains zine

thinking all by yourself, handsome?

Full res (1+2+3)

30 Day OTP Challenge: Day 22 (In battle, side by side)

Day 21 - Day 23

*falls off a cliff*

Shall we retire the act? ​​​

Excerpts from the SyFy Wire & Film School Rejects interviews with Claire Anderson, the Emmy-nominated costume designer for Good Omens:

[ Film School Rejects - by Ciara Wardlow]  “I worked through it with gut reaction images. So, two guys. Two guys, kind of close, nearly in love, if you like,” she said. “I just went in and we had a really big, very open conversation about how you related to these people in the script and how we would make them real and plausible, but give them a fantasy element. Give them something otherworldly.”

While Anderson says that she ultimately took this approach with more or less all of the characters, mixing period and modern elements to give characters somewhat timeless, yet also somewhat fantastical “out of time” looks, in the early discussion stages it was all about Aziraphale and Crowley. For one thing, Sheen and Tennant were already cast, which was a major help in determining their looks. It took some time to settle on the duo’s main, contemporary looks, but once these were locked in they played a significant role in determining everything else they wore.

[…] Aziraphale maintains a look with significant nods to the late Victorian era. Crowley too, although he manages to put an edgier twist on things than his angelic contemporary. “We re-appropriate bits of period stuff so that it echoes. [Aziraphale and Crowley] echo one another in their visual identity with pieces from their past—where they’ve touched each other in the past perhaps, or bumped into each other.” Regarding how Crowley manages to keep more of a modern, cool vibe, Anderson gives David Tennant’s performance the lion’s share of the credit. “He’s a very nice man, but he’s very sexy. He brought all of that swagger, that rock star, snake-hipped sexiness, and we built on that.”

[ SyFy Wire - by Jennifer Vineyard] GARDEN OF EDEN, 4004 B.C. -  Anderson looked at everything from Pre-Raphaelite paintings to Al Pacino’s hippie clothes in Serpico to determine just the right flow for Aziraphale’s rough-hewn robe, which has gold embroidery on the shoulders and side. Aziraphale is also wearing a golden ring, which later becomes a signet ring stamped with wings in the Victorian era.

NOAH’S ARK, MESOPOTAMIA, 3004 B.C. - “As aged as I am, I wasn’t there,” Anderson says, laughing. “And there wasn’t any painting or documentation from this era. But what we do know is that tunics remained pretty simple, and the earlier shape would have served them well for many years.” Aziraphale’s robe becomes more streamlined, and he wears gold beads at the neck.

THE CRUCIFIXION, GOLGOTHA, 33 - By this time, both Aziraphale and Crawley — now Crowley — are wearing turbans and head wraps, which Anderson attributes to “a bit of vanity.” Plus the wrap helps Crowley conceal his snake-like eyes (it’s too soon for glasses). Aziraphale dons a soft leather coat over his tunic, while Crowley wears female attire of the region — an abaya.

ROME, 41 -  Switching from tunics to togas was difficult, since togas contain 6 to 12 meters of fabric, which is a lot to carry around on camera. Anderson reduced the size by cutting the togas to fit for the character’s movements, and she gave each actor a thematic decorative pin to hold their togas together — Crowley a serpent and staff, Aziraphale a pair of wings (both courtesy of George Easton at Danegeld Historic Jewellery). Although history might argue that it’s too soon for sunglasses, Crowley starts to shield his eyes with a very small, eye-shaped lens. “It’s suggestive, rather than historically accurate,” Anderson says. And as a sign that Crowley is adapting to the humans around him, he also wears a silver laurel wreath.

ARTHURIAN ENGLAND, THE KINGDOM OF WESSEX, 537 - Anderson sent character descriptions and visuals for Aziraphale and Crowley to armor specialist FBFX, which sent a van to London full of pieces that could work for angelic and demonic armor. Instead of focusing on historical accuracy, Anderson looked for shapes and fit that suggested an ethereal — or snakelike — quality, once the pieces had been painted black or silver. For Crowley, she found a helmet that had a smaller face that could suggest a snakehead, and for Aziraphale, shoulder pieces that were slightly wing-like. To add to the wing effect, Anderson added a white fur caplet to Aziraphale’s armor. “It was terribly grand, but not very practical,” she says. “And the poor guys, it was murderously uncomfortable to stand around in that armor.”

GLOBE THEATRE, LONDON, 1601 - Crowley and Aziraphale catch an early version of Hamlet, looking more period-appropriate than ever thanks to the Globe’s vast archive of costumes. Aziraphale’s wardrobe, which includes a neck ruff edged with gold thread, has a metallic look with a hint of iridescent blue, which opens up his color palette. Crowley, meanwhile, wears a cleaner neckline and leather on his doublet, as well as fabrics that provide sheen and luster to suggest his snaky origins.

REVOLUTIONARY FRANCE, PARIS, 1793 - This is not a period to be dressed like an aristocrat, but Aziraphale couldn’t resist a lace collar, gold brocade and fitted jacket — which explains why he’s stuck in a prison cell (at least until Crowley intervenes). Crowley, more mindful of what revolutionaries would wear, dons a dark red jacket that’s almost as dark as his usual black. When Aziraphale miracle-changes his clothes, he wears the red cap of liberty. “It’s a soft beret that falls somewhere between a modern French beret and a pirate headdress,” Anderson notes.

ST. JAMES’ PARK, LONDON, 1862 - This is the time period with which Aziraphale gets most comfortable, fashion-wise, and settles into a Victorian look with tartan flair. Anderson also bestowed some heavenly nods to his angelic nature — a feathery velvet top hat, a stopwatch with angel’s wings on the chain, and the signet ring. Crowley, meanwhile, wears a pair of long, elegantly cut trousers that we will see again in the 1960s. “The trousers repeat, which is basically what fashion does anyway,” Anderson says. “And it’s what the story does. There are notes backward and forwards.”

THE BLITZ, LONDON, 1941 - Aziraphale’s tartan necktie becomes a bow tie, and his penchant for wide lapels, a nod to his wings, continues, this time with a spear-point collar. Crowley, who comes to save Aziraphale once again, is dressed more formally, in a full double-breasted wool suit that must have been hard for David Tennant to wear in the South African heat. “The rest of the crew were in flip-flops and T-shirts, and David was in the suit, hat, and those big boots,” Anderson says, recalling the shoot.  “He had to be very physically active in that scene, and yet David didn’t complain about the heat or anything. He’s amazing.”

SOHO, LONDON, 1967 - Crowley, as noted, continues to wear his Victorian trousers, which are right up to date, and which he pairs with a black paisley velvet jacket with contrasting lapels. His sunglasses now have more of a John Lennon vibe. Aziraphale, perhaps inadvertently, is also looking stylish with his Victorian topcoat, spear-point collar, and cravat (modified from his scarf in Victorian England). “You can’t avoid being affected by changing trends,” Anderson says. “However bookish you are, you still notice other people. And you would have had Rolling Stones and Beatles fans wearing that kind of thing. That was our argument for Aziraphale wearing his Victorian topcoat all the way through, and Michael Sheen loved it. He said it inspired him. And the cravat rang in the changes and helped us with the passage of time, rather than always having him wear a bow tie.

I just really love drawing Aziraphale with their regency’s dress that’s all

My pet bacteria just walked into a puddle of hand sanitizer and died

That one show 😈😇

Thinking of that chapter in Red Dragon where Hannibal writes Will a lil note after Will gets stabbed in the cheek. OOUGGGHH MY BOOKS WILL (I also think about you so much ❤️) aaach my books! What a little freak (lovingly)

Song of the Sea - Reimagined Movie Poster (Reupload)

Frends<3

let me tell you a story…

what bender wants to hear the most from his favourite meatbag

Scott Pilgrim x Barbie the movie illustration by Bryan Lee O'Malley

They brought him to the movies

Scollace week day 2- sparks

awareness is the curse