after thinking about it all day now I am insane enough to make it into an actual post, sorry for just copypasting my own tags, but alas xD
this was in response to this post about how buck probably didn't even realize at first how close tommy and he were standing, because him and eddie always stand this close which SO FUCKING TRUE, I just spiralled a little frome there
#but do you also think that NOW the next time he DOES stand this close to eddie he will notice?#DO YOU THINK NOW THAT HE KNOWS HOW CLOSE CLOSE IS AND HOW EASY IT IS TO BRIDGE THAT DISTANCE#HE WILL ALWAYS ALWAYS ALWAYS BE AWARE OF EDDIE BEING THIS CLOSE TOO AND HAVE A TINY PART OF HIMSELF WAITING FOR EDDIE TO REACH IN THE SAME#WAY TOMMY DID BECAUSE REALLY ISN'T THAT THE LOGICAL CONCLUSION TO EASY CLOSENESS LIKE THIS#and like *screams into hands some more* WE KNOW that eddie steps in super close next episode#we know he touches buck#and it isn't the chin it is his shoulder and hip#but really that only makes it more insane#and maybe eddie isn't thinking anything of it because they HAVE always done this THIS IS WHAT THEY DO#they have always stepped close and sought out each other's bodies and touched and just generally had a pull towards each other#but on god I cannot see a world where now buck isn't aware of it in a totally new way#do you think eddie steps close and reaches out to touch him and buck flashes back to tommy stepping close#do you think the feeling of fingers on his chin and fingers on his neck start to blur?#do you think he feels eddie's grip on his hip and for just a second he wonders if there is gonna be a pull that pulls him in unexpectedly#the way that tommy gently pulled his chin towards him? how it was both unexpected and something that he had secretly deep down been hoping#for and been TRYING to provoke by stepping closer himself by swaying closer by stepping in#do you think that for just a moment all of these things blur for buck?#and that has never happened before but HOW are you supposed to ever forget now that you have these new associations#and you have to realize that oh maybe they are not so different from what I have always had#how do you deal with that? with how suddenly suddenly something you have always had has this new meaning and you can't unsee it#but you also can't have it and you have to lock that down because with tommy it already felt like risking everything but in an exhilarting#way#but like this? oh like this the risk is TERRIFYING
the more I am thinking about this the more insane I am feeling? because then I remembered that in the stills from 7x5 we know Eddie has his hand on Buck's side from the way the fabric pulls and EDDIE NEVER TOUCHES BUCK LIKE THAT, he usually only does the shoulder grab! which by itself is insane enough
BUT
BUT THEN
we know from the 7x4 stills that even though we did not quite see it in the episode because of the use of close-ups, tommy too had his hand on Buck's side during the kiss/in the aftermath of the kiss, THE SAME HAND ON THE SAME SIDE VERY LIKELY IN THE SAME SPOT
like? WHAT AM I SUPPOSED TO DO WITH THIS KNOWLEDGE OTHER THAN SCREAM?
the fact that they have eddie touch him like this specifically after tommy touched him like this, when he normally doesn't do that? making Eddie mirror Tommy's touch? FUCKING INSANITY
OF COURSE it'll blurr in buck's mind for just a second, there really is no way it doesn't, sensory memory is SO INSANELY STRONG, oh I am going fully insane over this
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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)
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