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roach-works · 1 year

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new heresy that makes the bible way funnier:

god genuinely had no idea that people would be able to disobey him, when he made them. angels couldn’t! everything in the universe was just an extension or a reflection of god himself, operating in perfect mechanical order. then he put a spark of his own creative consciousness in an animal and it turned out it could disobey him.

like, that’s why he told adam and eve not to access a perfectly accessible tree. nothing else in the universe up until that point would have done something he told them not to.

that’s why he asks cain a perfectly ridiculous question, given that he would have watched the murder happen right in front of him: where is your brother? what did you do to him? he didn’t know cain could lie. even when adam and eve disobeyed him, surprising absolutely everyone involved, they hadn’t figured out lying yet. cain figured out lying.

that’s why god decides to destroy humans and start over only a few centuries later. he has no idea what to do. not only are people disobeying and lying to him, they’ve started completely ignoring him, too. he can control the wind, the water, the plants, the animals, the angels, the heavens, the earth. but he cut a part of himself loose and gave it to this totally unique new critter and now he can’t get it back. he can’t make anyone do anything, and now they know it. he had to carve humanity back down to the one family that actually, for whatever reason, still listened to him, and he had to ride them pretty fucking hard from that point onward to make sure they didn’t just..... stop. because at any point basically any human, ever, even the ones who liked him, could just randomly decide to fuck off and do their own thing.

then like, according to christians, god thought maybe he could get a handle on whatever the fuck was going on with how bad humans were being by making another human who had even more god in him than all the other humans, and that didn’t work either. and also even jesus himself didn’t know what humans were going to do next, which was kill him young. like, god had to break the news to him based on an educated guess, and it was a big surprise to him! he was really upset! there’s a whole scene!

like, i think this is hands down the funniest fucking thing to conclude about god ever. he didn’t know it was going to turn out like this when he started and he didn’t know what to do when it did. he’s been basically scrambling to stay on top of the situation for six thousand years and he’s totally beefed it repeatedly.

god the omnipotent lord of creation knows everything, except what you’re going to do next. god the supreme ruler of the universe can do anything, except stop you. you have a little piece of god inside you and it lets you defy the most fundamental machinery of existence basically whenever you like.

if that’s not funny, i don’t know what is.

#we're hypothetically supposing that some amount of the bible is Right #anyway when i believe in god i do actually believe this #imagine if you looked in a mirror and your reflection just walked away #this is what god's been going through for thousands of years #how great is that #let the old man sweat

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unwisegirl · 3 months

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listen like. people are totally entitled to their opinions and criticisms of the pjo show but. sometimes it’s just hard to hear/read. I know the show isn’t perfect but seeing the cast & producers talk about it and seeing the level of love and excitement theyve put into the work, idk, I feel for them having people tear it to shreds. criticising the author himself for not adapting it well when he’s doing something different with a new medium, saying they’re sorry for the kids who love the books but have to act in this “terrible” show as if these kids aren’t THRILLED by the opportunity and just so committed to giving the show their best.

(watch the behind the scenes documentary. seriously.)

again totally valid criticisms & opinions!! but you win some and lose some in an adaptation. eg. trying to expand on themes, keep a consistent tone, appeal to a broader audience (including those of us who loved the books as kids but are now!!! adults!!!), keep within budget, etc etc all these things involve some trade offs. sure some of the humour and goofiness has been lost but we also get amazing beautifully acted scenes that really expand on core themes of family or who is a monster etc etc.

speaking on a personal level I have had a hard time these past few months and this show became a genuine escape, a way for me to connect with my sister watching the episodes together, a rediscovery of my inner 12 year old who waited so long for this. and I know there are people who are like me and they had certain expectations and that’s why they’re disappointed and that’s so valid, but it’s a lot of negativity sometimes, & I just wish we could give a little grace bc making a creative thing is hard, and pleasing everyone with that creative thing is impossible, and most of all, maybe we could revel a little bit more in this unique complex piece of work that lots of people poured their hearts into with nothing but the best of intentions.

#again u are entitled to your opinions maybe this is just #my very long way of saying please tag your criticisms #I’ve filtered the tags but it still pops up on my feed #percy jackson #percy jackon and the olympians #pjo tv show #pjo series #pjo #pjo fandom

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fuckyeahgoodomens · 2 months

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Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.”

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series Hogfather (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010).

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop.

From start to finish

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.”

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.”

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).”

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities.

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures.

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.”

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.”

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.”

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.”

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots.

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.”

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

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angelltheninth · 5 months

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only thinking about mizu fucking me with the hilt of her blade….CAN U IMAGINE???? then going off and fighting some battle with it and thinking of how you fell apart on it

Now that is whole other levels of thirst that you've unlocked.

Pairing: Mizu x Fem!Reader

Tags: nsfw, smut, sword... eh... I don't know how to tag this there's a sword hilt used for sex, praise, clit sucking, body kissing

Word count: 0.9k

A/N: One of my best friends has a katana he bought in Japan... I can never look at it again.

Because she wasn't biologically male Mizu got to be a little creative in the ways she made love to you. It often involved her tongue, her fingers, her thighs, the toys she'd get in brothels. But that was while you were in town. On the road there weren't any toys for you to use but she still wanted to give you something of a new experience.

She just didn't know how.

"Mizu." You got her attention away from your naked body and back to your face, "You've been staring at me for the past five minutes. I like it but I thought you wanted to have sex. If you don't I can put my clothes back on and we can go to sleep." Unless you were found by the people chasing you the other day.

She pursed her lips together and ran her free hand through her hair. "I'm trying to think. I don't want to be too far away from my katana. If we're attacked I need to be able to protect us." Her fingers tapped along on the sheath, torn between setting her weapon aside and ravaging you or staying up to be on the lookout.

You inched closer to her and took a seat in her lap, cuddling up to her more than trying to instigate something.

Mizu was happy to wrap an arm around you and hold you close while holding her sword against her shoulder with the other. As she tapped on it again an idea came to her. If Eiji found out...

"Wait, this might be a little unconventional but could you stand up for me?" Your cunt gave an excited flutter at being so close to Mizu's lips. Those soft lips only kissed your stomach and a bit above your cunt, they never actually came to where you wanted them most. Instead Mizu discarded her sword sheath and gripped it at the very bottom of the hilt, the other half placed directly under your cunt. She caught the flicker of hesitation on your face, "You don't have to." Her lips pressed against your hip, "I thought you might enjoy something thicker than my fingers."

You gulped at the implications. The hilt of her sword. Her sword was a part of her, so in a way it wouldn't be that odd to... but still you can't fit all of it. Slowly and carefully you lowered yourself to the end of the handle, feeling the cold against your warm pussy lips. Mizu watched as your pussy opened and adjusted to the hilt, taking in more and more all the way up to her hand.

"Good girl." Mizu kissed your hip again and caressed the other with her free hand. You moaned at her soft praise as you pulled up and sank back down on the hilt, your pussy juices dripping down on her hand. "Go slowly, I don't want you to hurt yourself. Let your cunt adjust." She knew this must feel a little odd but when you didn't protest and instead gripped onto her shoulders so you could balance yourself better she smirked up at you.

You clenched around the sword as you kept going up and down until it was no longer uncomfortable, only making you moan in pleasure. Yes it was still an odd feeling but by no means was it bad.

Mizu pulled you a little closer by the hip, making sure to move her sword to until you were within leaning range of her lips. She waited for you to still before she wrapped her lips around your clit and sucked. It was hard to keep still now but you had to in order for her to keep doing what she was doing. Her tongue flicked at your sensitive nub and made you throw your head back, you let out a long breathy moan, dripping more slick onto him and even past his hand, onto the blade itself.

She pulled back, her lips wet from you and eyes focused on your cunt. "Look at how well you're taking it. Keep going." Finally you could start moving again, deepening your thrusts as she too began moving the sword, but only a little, still letting you do most of the moving.

You felt your walls tighten around it, not caring how lewd you sounded or looked right now, or how filthy this act was, "I'm close... about to come..."

Not without her mouth you weren't. Her tongue was back on you, lapping at your clit, only this time you couldn't keep your hips still, which made you press against her tongue at the same time as you took the hilt back up into your cunt.

Mizu pressed the flat of her tongue against your clit one last time before your body shook, but Mizu was there to catch you and ease the hilt out of your still pulsing pussy, then cupping it with her hand to catch some more slick into her palm. "You were so good." You collapsed into her lap again, head against her chest, breathing fast and heart hammering against your ribcage.

Sadly your bliss was broken by the sound of hurried footsteps and loud voices.

"Shit." Mizu threw her cape over you, "Stay in here. Get dressed in case we need to run." She kissed your cheek quickly and picked up her glasses and her sword. She would protect you, kill any enemy that dares to threaten you with the very same sword she just used to make you orgasm.

There was something both odd and comforting about that. It made you tune out the screams coming from the outside, the strings of curses and sounds of bodies falling onto the floor. But Mizu never fell, she always came back to you, always kept you safe.

#blue eye samurai #mizu #bes #blue eye samurai x reader #mizu x reader #mizu blue eye samurai #bes x reader #blue eye samurai imagine #mizu imagine #bes imagine #blue eye samurai fanfiction #mizu fanfiction #bes fanfiction #blue eye samurai smut #mizu smut #bes smut #x female reader

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ghostaholics · 1 year

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fuck it i'm thinking about grump x sunshine trope and a neighbor au with ghost where he's known for being the building's loner-tenant, this brute bear of a man that keeps to himself.

nobody's ever seen him smile or caught a glimpse of the entirety of his face because he always wears a black surgical mask when he's going to and from his flat; nobody's ever had a full-length conversation with him, because true to his callsign, he's in and out of the building with as much silence and stealth as a ghost. the other residents gossip about him: the water-cooler talk usually goes along the lines of them trying to piece together his story, who he is, what he looks like, whether they should be worried about the fact that he lives there (because there's nothing wrong with being a recluse but he does give off slightly terrifying vibes due to his size and demeanor). the rumor mill’s churning out these outlandish ideas about his private life and they kind of make assumptions based on little things they’ve noticed about him since he’s started living there.

enter in his new neighbor who's never met him, but was advised on her move-in day that he doesn't interact much with the other residents, basically a light debrief on how he can come off as cold and aloof and while some people have made attempts in the past to greet him, they’ve been dissuaded by his general standoffishness and avoidance of any social interaction.

anyways, simon wakes up at odd times throughout the night because he's got the most fucked sleeping schedule from deployment; he can start his day anywhere from 4am, 6pm, and so forth but on one particular morning, he's up at 3:30am, ready to go out for a jog of all things at this hour and then in the hall, he runs into his cute neighbor who's holding this also equally cute german shepherd puppy in her arms; his reaction consists of slowly blinks and a blank expression because he doesn’t quite know what to make of the sight in front of him

and she's staring back at simon with wide, frightened eyes not because she finds him intimidating or anything of that nature (honestly she doesn’t really give two shites about what the others say about him) but because the landlord has a severe and well-known, no-pets policy so she's been sneaking the puppy outside to use the bathroom in creative ways (one of them being at a time where she's certain none of the other tenants are awake) – she's basically been caught red-handed and fuck she's not sure if he's the type to snitch so all she can really say is:

❝ You didn't see anything. ❞

to which he deadpans,

❝... Sure. ❞

because he’s really just trying to mind his own business and not get involved, ducks his head before shouldering past her in the corridor to get outside – he tells himself he can’t bring himself to care about this new development

however, she's not entirely confident that he's going to make good on his word, so she bakes these cookies (special recipe of hers that she’s hopeful will win him over), leaves them in front of his door as a bribe with a card that says please don’t get me evicted ♡ on the inside, which seemed like an excellent plan in theory until he shows up the next day with an empty plate, a very real, very genuine request for more, and a serious demand to see the german shepherd that’s trying to squirm its way out the door to greet simon

edit: love thy neighbor masterlist

#I have more to say but I’m stopping myself right there #part one is being written #simon riley x you #simon riley x reader #ghost x you #ghost x reader #simon riley headcanons #ghost headcanons #simon ghost riley #simon riley

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