The Magiciatron
A couple of posts came across my dash recently in quick succession about Crowley and Aziraphale’s costuming, and boy howdy did they get me Thinking™. The details of those posts are not super relevant, but they did inspire this one and were quite insightful, so I’d recommend giving them a read anyway, as well as the several other posts I have linked throughout where ideas were taken. Please do give those a read/reblog as well!
And then take a look at this post I saw:
“You’re not trying to trick me, are you?”
Now kindly consider the fact that Crowley is beside Muriel’s left shoulder (like an angel) and the Metatron is on Aziraphale’s right (like a demon). And notice, like I did, that the lapels on his coat are some of the lowest we’ve seen. Which, for an angel-who-isn’t-Aziraphale, and you know, the literal fucking voice of God, is pretty fucking weird. But I digress.
Because what’s important here is that you’re reminded, like I was, how weird it is that the Metatron is wearing so much black.
Surely the most important angel we’ve ever met-- who up to this point, has only ever been depicted as a brilliantly glowing white head, and is (stage blocking-wise, literally) above inhabiting the typical corporations that other angels have, even while in heaven-- surely he would be sporting the cleanest, purest, whitest clothes imaginable, right?
But... he isn’t. He’s not wearing grey or beige like any of the other angels, or even white like Muriel’s constable uniform, he’s wearing black. That’s weird! Angels don’t wear black! Oh... well except when they’re magicians, of course:
(X, X)
But even in his magician costumes, Aziraphale retains many elements of his angelic nature: the upward-pointed lapels; the white cuffs poking out of his sleeves; the floppy bow ties; the single-button or open jacket revealing the soft gold and velvet vests. This is merely a flashy costume! Don’t worry folks, he’s still the same, good old angel underneath!
The Metatron, on the other hand, does not have any of these angelic indicators. Underneath his magician’s coat-- which is big and loose, falls closed in front of him in a way that obscures his suit, and has extremely downward-pointing lapels-- he wears a dark tie, and a very normal-looking, white, pinstripe shirt. No angelic tartan to be seen, either. It’s a very understated, business-minded look compared to Aziraphale’s flashy stage getups. Also worth noting imo is that in many scenes, the Metatron has his hands in his pockets, which obscures his form even more.
Now this might be indicative of something more, some larger scheme we haven’t deduced yet, but by itself it’s a brilliant move by the costuming department, adding yet another perfectly conniving layer to the Metatron’s manipulations:
Dress him in the magician’s coat and send him on stage, where his tricks are hidden in plain sight...
Engage the audience to participate in a dramatic reveal...
Reassure his volunteer that his props are completely normal by offering them up for inspection...
Have the assistant do all the flashy presentation for him...
So that while the audience is distracted, they fail to notice...
... that a swap has been made...
And then the curtain falls. Show over. Audience fooled. Job well done.
The End.
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I know yesterday was mainly about Seb, but I really have to express how satisfying the race was as a Charles enjoyer... It was like a belated glimpse at the potential Ferrari displayed at the start of the season (including the parallel to Jeddah, where Charles and Ferrari successfully goaded Perez into a pitstop - although he probably would’ve done a two-stopper anyway, but more on that later).
Charles was faultless throughout the whole thing, never putting a foot wrong, never “caving under pressure” as the naysayers like to claim he does. He admitted Ferrari tweaked the car set-up and made a big jump from Friday to Saturday to Sunday, and that he himself had to adjust his driving style to extract the maximum out of the car. He had the right idea about the strategy and made the one-stop work through incredible tyre management while basically keeping pace with Max. Obviously Max wasn’t the target, so to speak, but if you compare Charles’s pace (on used, old tyres he had to manage until the end of the race) vs. Carlos and Checo’s pace (or lack thereof) and complaints about tyre deg... I mean it was a masterclass drive. And the sad thing is I’m sure it’ll go under the radar for most people, as a lot of his better performances have, but it’s worth acknowledging that he gave it his everything and got to finish the season on a high. P2 went where it was absolutely deserved. 👏🏻
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One of the things I find interesting about Maxwell as a character, especially as we find out more about him, is, as someone with a decent background in theatre, how real he seems to me. Not as some great, grand villain, but as a performer who wanted and who got in over his head as a result.
A little explanation: when I say, “I have a background in theatre,” I don’t mean anything big or grand - I’ve only been paid for I think three of the jobs I’ve done, the majority of it was lessons and volunteer work for more niche stuff. Which is important, because that’s the level of stage William seems to have been at originally. I’ve actually met a lot of Williams in the course of my acting experiences - you’d be surprised how many of them there are. And, I cannot stress this enough, they are not bad people.
You’ll hear people say that the performance industry is cut-throat, and it is, but that means it’s also shockingly rough on the performers in it. There’s a lot of performing in school gyms, having to provide pieces of your own costume even if it’s not a school activity or a lesson, hours like you wouldn’t believe in regards to both practice and performance, and pay such that there’s a reason it’s a trope for actors to have side jobs. And that’s once you’re already in, and getting there is hard enough. Moving up is even more work, and often requires you to be skilled in multiple areas. Injuries happen, and you don’t work? You don’t get paid. Heck, I’ve stopped acting, just because I came to the conclusion that I didn’t want it enough to put up with the conditions getting to do it put me through.
Thing is? There are people out there who do want it that much, who’ll go through a performance with a taped-up leg or a head cold that’s making it hard to think. People who heard the phrase ‘the show must go on’ and took it to heart. People who are constantly looking for some new edge, some way to stand out from the crowd of other skilled, talented people they’re in because they want to be the one on the stage, in the spotlight, getting those applause from the crowd. And, as often as not, it’s easy to get an ego on you once you get there, and also to become incredibly jealous of your place in the spotlight, wary of anyone else taking what you’ve worked so hard to gain.
And all of that feels like it applies so well to William Carter. The man who left his home and family to try and make it as a stage magician in another country. Who was working hard to make it in a tough industry but couldn’t quite find that spark he needed to make it. Who finally found the edge that gave him the leg-up he needed to finally step into the spotlight he’d been seeking for so long. Who guarded the edge he’d gotten jealously, for the same reasons all magicians and many performers guard the secrets of their trade so carefully. Who presumably realized a little too late that he’d gotten in over his head, and didn’t know how to stop.
Now, replace the Codex Umbra with drugs, alcohol, medications, or any number of other things, and William’s isn’t a new story at all - it’s one we’ve seen play out over and over in the performance industry, and I’m sure we can all name at least one star we’ve seen rise and fall in our own lifetimes. It’s not new, strange, surprising, or even unusual. It’s just a case of bad luck that the edge William found cost him in such a strange, horrific manner.
And that’s why Maxwell, once William, is so interesting to me. Because he’s turning out not to have been some great, grand figure, a powerful schemer or clever conman. Heck, as Wes’s story showed us, he’s not even that great at getting back at his enemies. He was just a guy, a really average, normal guy, who really wanted to be a performer. Because, no matter what he became as the King, he doesn’t seem to have started out bad, and the worst he seems to have become in the regular world was something of an egomaniac. Which, again, extremely normal in performers. That’s where the thrill comes from. He was a regular, unassuming guy who got handed the key to his dreams... and didn’t realize the true cost until much too late.
Because I’ve seen how much many performers are willing to pay and put up with for that moment in the spotlight, how much more they’re willing to pay and put up with to make that moment last... and I can’t help but wonder how many of them, if offered the same chance, would make the same choices as William, and also not realize it until much too late.
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