Illustration 1/3 For "Stalwart Sun, Wily Moon," By @dustandhalos

"A Match of Temptation". Watercolor, 2022.

Originally painted for the Of Wings and Feathers Good Omens group zine. Plans for prints are in the works, keep an ear out for details to come!

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how to ask the demon you've been smitten over for 6000 years to dance: an angel's guide

bonus:

My blog is slowly turning into a Good Omens fanart dump and i’m okay with it.

— Nothing lasts forever.

— No. No, I don't suppose it does.

Wander boy

an appetite, nothing more.

Smitten, I believe ✨

Nosferatu (2024) is unquestionably a multifaceted work, but what I personally consider to be the unifying idea behind its facets is that, for Ellen, Orlok represents validation.

Her fears are dismissed and called childish?.. He's a nightmarish manifestation of them.

She is consistently disrespected by everyone around her?.. He considers her his only equal. She never uses his title, it's permitted.

She is told to fix herself, misunderstood, and always isolated?.. He knows all the darkest parts of her and is delighted by them. He wants her just as she is, so much that he will lie, kill, and cross the ocean to find her.

The scene in their death/wedding bed is a direct parallel to the scene of her waking in that bed at the beginning of the film. She complains to Thomas that the "honeymoon is yet too short" and tries to pull him down with a kiss - however, he is worried about being late for work, and so he extricates himself and leaves. Cut forward to her sharing the same bed with Orlok, similarly early in the morning; he is startled by cock-crow and begins to rise, but she guides his head back down - and, even though he knows that he will die, he stays. He is her sexual and emotional desire, realized.

Given that there is a plethora of emotions Ellen is forced to suppress on daily basis, there is no singular correct interpretation of her relationship with Orlok. To erase any one of them is to render it shallower than it actually is; but there is no doubt as to why their attachment is mutual. To each, the other is something they’ve never had before.

“[Aziraphale’s and Crowley’s wings] were created for Season 1, but we redid them as they needed more complex behavior. The wings were animated to follow Crowley’s and Aziraphale’s body movements to enhance their emotions. So, there was a bit more animation work involved with this. It was more complex in the way that feathers behaved since we had to have proper feather interactions. That was the biggest sequence for sure in terms of volume and complexity. It was a fun and challenging sequence.”

—Matias Derkacz, Visual Effects Supervisor, Milk VFX