Imagine S3 Where Aziraphale Is Scouting Around A Maternity Hospital In Newspaperman Mode Trying To Locate

Yuzu ❤️

Hey, bestie!

So, since I know you're always in the market for historical lams fics, I shall give you an author recommendation.

There is an author on both AO3 and Wattpad that writes FANTASTIC historical lams fics.

Her name on AO3 is Rogueangelll

and on Wattpad it's frogangelll

I suggest starting by reading her Lams Oneshot book (it's on Wattpad) though I will warn you, most of them are rated Explicit. and they are VERY well-written smut shots. trust me. But anyways, her writing is amazing and multiple of the one-shots are over 10k words-

Okay then, Imma just *poofs away*

WKEJWKEJAKEJ

THANK YOU SM BESTIE

Yes, I have read a couple of her fics on Wattpad and even a few oneshots. I wish my oneshots were that long-

❀ dec. 7, 2022 – happy 28th birthday, yuzuru! ❀ it’s beena wild year! i hope this new one brings you a refreshing spring to accompany your identity of a pro skater!

(quote adapted from natsuki takaya’s fruits basket)

sakusa kiyoomi

Originally posted by @/joshuadavisf on tiktok but it's been taken down since

SFX Magazine Issue 372 - Designing Good Omens ❤ 😊

PRODUCTION DESIGNER MICHAEL RALPH REVEALS HOW THE SHOW’S CENTREPIECE SET, WHICKBER STREET, WAS GIVEN A DEVILISHLY CLEVER UPGRADE FOR THE SECOND SEASON

WORDS: DAVE GOLDER

Invisible Columns And Thin Walls “The new studio is Pyramid Studios in Bathgate – it used to be a furniture warehouse. And unfortunately – or fortunately, because I accept these things as not challenges but gifts – right down the middle of that studio are a series of upright columns. But you’ll never spot them on screen. I had to build them in and integrate them into the walls and still get the streets between them. And it worked.

“There’s all sorts of cheeky design values to those sets. Normally a set like this is double-skin. In other words, you do an interior wall and an exterior wall, with an airspace in between. But really, the only time a viewer notices that there’s that width is at the doors and the windows. So I cheated all that. I ended up with single walls everywhere. So the exterior wall is the interior wall, just painted. All I did was make the sash windows and entrances wider to give it some depth as you walked in.”

GOOD OMENS HAD A CHANGE of location for its second season, but hopefully you didn’t notice. Because Whickber Street in Soho upped sticks from an airfield in Hertfordshire to a furniture warehouse in Bathgate, Edinburgh. It’s the kind of nonsensical geographical shenanigans that could only make sense in the crazy world of film and TV, and production designer Michael Ralph was the man in charge of rebuilding and expanding the show’s vast central set. “I wish we could have built more in season one than we did,” says Ralph, whose previous work has included Primeval and Dickensian. “We built the ground floor of everything and the facades of all the shops. But we didn’t build anything higher than that, because we were out on an airfield in a very, very difficult terrain and weather conditions, so we really couldn’t go much higher. Visual effects created the upper levels.”

But with season two the set has gone to a whole other level… literally. “What happened was that the rest of the street became integrated into the series’s storyline,” explains Ralph. “So we needed a record shop, we needed a coffee shop that actually had an inside, we needed a magic shop, we needed the pub. To introduce those meant we had to change the street with a layout that works from a storylines point of view. In other words, things like someone standing at the counter in the record shop had to be able to eyeball somebody standing at the counter in the coffee shop. They had to be able to eyeball Aziraphale sitting in his office in the window of the bookshop. But the rest of it was a pleasure to do inside, because we could expand it and I could go up two storeys.”

For most of the set, which is around 80 metres long and 60 metres wide, the two storeys only applied to the shop frontages, but in the case of Aziraphale’s bookshop, it allowed Ralph to build the mezzanine level for real this time. According to Ralph it became one of the cast and crews’ favourite places to hang out during down time.

But while AZ Fell & Co has grown in height, it actually has a slightly smaller footprint because of the logistics of adapting it to the new studio.

“Everybody swore to me that no one would notice,” says Ralph wryly. “I walked onto it and instinctively knew there was a difference immediately, and they hated me for that. I have this innate sense about spatial awareness and an eye like a spirit level.

“It’s not a lot, though – I think we’ve lost maybe two and a half feet on the front wall internally. I think that there’s a couple of other smaller areas, but only I’d notice. So I can be really annoying to my guys, but only on those levels. Not on any other. They actually quite like me…”

Populating The Bookshop “The props in the new bookshop set were a flawless reproduction from the set decorator Bronwyn Franklin [who is also Ralph’s wife]. It was really the worst-case scenario after season one. She works off the concept art that I produce, but what she does is she adds so much more to the character of the set. She doesn’t buy anything she doesn’t love, or doesn’t fit the character.

“But the things she put a lot of work into finding for season one, they were pretty much one-offs. When we burnt the set down in the sixth episode, we lost a lot of props, many of which had been spotted and appreciated by the fans. So Bronwyn had to discover a new set decorating technique: forensic buying.

“She found it all – duplicates and replicas. It took ages. In that respect, the Covid delay was very helpful for Bron. There’s 7,000 books in there and there’s not one fake book. That’s mainly because… it’s a weird thing to say, but we wanted it to smell and feel like a bookshop to everybody that was in it, all the time.

“It affects everybody subliminally; it affects everybody’s performance – actors and crew – it raises the bar 15 to 20%. And the detail, you know… We love a lot of detail.”

(look at the description under this, they called him 'Azi' hehehehe :D <3)

Aziraphale’s Inspirational Correspondence “There’s not one single scrap of paper on Aziraphale’s desk that isn’t written specifically for Aziraphale. Every single piece is not just fodder that’s been shoved there, it has a purpose; it’s a letter of thanks, or an enquiry about a book or something.

“Michael Sheen is so submerged in his character he would get lost sitting at his own desk, reading his own correspondence between takes. I believe wholeheartedly that if you put that much care into every single piece of detail, on that desk and in that room, that everybody feels it, including the crew, and then they give that set the same respect it deserves.

“They also lift their game because they believe that they’re doing something of so much care and value. Really, it’s a domino effect of passion and care for what you’re producing.”

Alternative Music “My daughter Mickey is lead graphic designer [two of Ralph’s sons worked on the series too, one as a concept artist, the other in props]. They’re the ones that produced all of that handwritten work on the desk. She’s the one that took on the record shop and made up 80 band names so that we didn’t have to get copyright clearance from real bands. Then she produced records and sleeves that spanned 50, 60 years of their recordings, and all of the graphics on the walls.

“I remember Michael and Neil [Gaiman] getting lost following one band’s history on the wall, looking at their posters and albums desperately trying to find out whether they survived that emo period.”

It’s A Kind Of Magic One of the new shops in Whickber Street for season two was Will Goldstone’s Magic Shop, which is full of as many Easter eggs as off-the-shelf conjuring tricks, including a Matt Smith Doctor Who-style fez and a toy orang-utan that’s a nod to Discworld’s The Librarian. Ralph says that while the series is full of references to Gaiman, Pratchett and Doctor Who, Michael Sheen never complained about a lack of Masters Of Sex in-jokes. “He’d be the last person to make that sort of comment!”

Ralph also reveals that the magic shop counter was another one of his wife’s purchases, bought at a Glasgow reclamation yard.

The Anansi Boys Connection Ralph reveals that Good Omens season two used the state-of-the-art special effects tech Volume (famous for its use in The Mandalorian to create virtual backdrops) for just one sequence, but he will be using it extensively elsewhere on another Gaiman TV series being made for Prime Video.

“We used Volume on the opening sequence to create the creation of the universe. I was designing Anansi Boys in duality with this project, which seems an outrageously suicidal thing to do. But it was fantastic and Anansi Boys was all on Volume. So I designed for Volume on one show and not Volume on the other. The complexities and the psychology of both is different.”

C*'👌

Was reading through the Flight Rising encyclopedia entry on Coatl and I just couldn’t resist doing this. 

No regrets.

I read the WSS screenplay and in Cool Tony is supposedly more graceful than Riff. the actual thing thou

Identify Figure Skating Jumps, In Real Time

So, we once did a gifset on jump identification, in slow-mo. But it’s time for an ambitious upgrade — now, identify jumps in real time, without slowing down or pausing.

All skaters land (clean) jumps in the same way: on the outside edge of one foot, gliding backwards. Skaters who rotate counterclockwise during their jump will land on their right foot while skaters who rotate clockwise will land on their left. All the examples below feature skaters who rotate counterclockwise. 

Therefore, the first and most important thing in jump identification is to scrutinize the takeoff instead of anything else. Look carefully at what the skater does with their feet before they jump, anything else is not particularly relevant in naming a jump. 

Toe Jumps

If the skater strikes the ice with their toe pick, it’s either a Toeloop, Flip or Lutz. These jumps are known as Toe Jumps because of the skater’s use of their toe pick. 

The Flip 

Skaters usually do a turn immediately before this jump. Notice how Zhenya swings her right foot while doing the turn; this is very characteristic of flip jumps. This is a very common entry into the flip, but it’s not a necessary one, skaters can opt to perform a flip with a different entry. 

Zhenya rotates towards the foot that is placed on the ice during her takeoff. Her own torso and leg are “blocking” the direction of her rotation, such that she is assuming a closed body position just before takeoff.

Take note of how the foot that is placed on the ice is on an inside edge. If a skater uses an outside edge instead, they will be penalized for incorrect technique.

The Toeloop

Skaters usually do a turn immediately before this jump. Again, while this is a very common entry to the toeloop, skaters don’t necessarily have to do it. 

Yuzuru rotates away from the foot that is placed on the ice during his takeoff. His torso and leg are not “blocking” the direction of his rotation, such that he is assuming an open body position just before takeoff. 

The Lutz

Skaters don’t usually do any turn immediately before this jump. Instead, they do a long backwards glide. Notice how Yuna gradually deepens the outside edge on her gliding foot as she goes backwards; this is one distinct indication of a lutz jump. Once again, this is just a very common entry to the lutz but skaters can use other entries too.

Yuna rotates towards the foot that is placed on the ice during her takeoff. Her own torso and leg are “blocking” the direction of her rotation, such that she is assuming a closed body position just before takeoff.

Take note of how the foot that is placed on the ice is on an outside edge. If a skater uses an inside edge instead, they will be penalized for incorrect technique. Skaters who make this mistake often switch to the inside edge at the very last second, just before takeoff.

Edge jumps

If the skater does not strike the ice with their toe pick, it’s either a Salchow, Loop or Axel. These jumps are known as Edge Jumps because the skater takes off from the edges of their blades.

The Salchow

The skater’s legs assume a “/ \” shape.

After that, the skater sweeps his right foot forward and takes off.

The Loop

The skater’s legs assume an “X” shape.

After that, the skater briefly “sits” down before launching into the jump.

The Axel

Skaters typically do a long glide backwards before this jump. This is common but not necessary.

After that, they turn their head and take off in a forward direction.

And that’s all you need to know! It also helps if you watch videos of many, many skaters, so you can practice identifying jumps with these common indicators from various camera angles. :) 

As a challenge, try identifying all the jumps in these programs (x, x, x, x, x) and let us know if these tips were useful! (Not all the takeoffs in those videos are the typical ones, but we’re sure you’ll get the hang of it eventually if you watch enough skating). ^^;;;

Until next time, folks!

More from us: Part I (Jump Identification in Slow-Mo)   ✦   Part II (Jump Identification in Real Time)   ✦   Part III (Combination Jumps)   ✦   Part IV (Spin Identification)   ✦   Part V (Steps Identification)  ✦   Part VI (Step Sequences)   ✦   Part VII (Grade of Execution - Jumps)   ✦   Part VIII (Transitions)   ✦   Summary of Figure Skating Scoring System

Yuzuru Hanyu @ Echoes of Life 2025

Final shows in Tokyo

Photos by Hochi News