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ouidamforeman · 6 hours
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I bought Aziraphale's Bible so you don't have to.
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Am I insane? Yes. Was it worth it? Maybe. In most* of both season 1 and season 2 of GO, there's a very specific Bible on a bookstand next to Aziraphale's desk. It's a vintage illustrated plate book by Harold Copping, known as the Harold Copping Bible, published by the religious tract society in London in 1910. It features some of the most well known Old Testament stories, summarized and annotated by the Bishop of Durham at the time, and illustrated by Copping, who was freshly returned from a sojourn in the middle east. Ironically, It was meant as a lay-person's version of a comic book, short, exciting by use of exotic illustrations, and easy to read.
But my (expensive) gain is now your gain! As I've collected here every visible page in both seasons for your reading and viewing pleasure.
Season 1: All episodes Adam & Eve Genesis iii (1:3) / HCB page 10
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Season 2: Episode 1 Joseph known to his brethren Genesis xlv (1:45) / HCB Page 28
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S2E1 14:21, S2E1 17:41, S2E1 39:45
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Season 2: Episode 2 Jacob's vow Genesis xxviii (1:28) / HCB Page 22
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S2E2 5:49
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Season 2: Episode 2 Joseph known to his brethren Genesis xlv (1:45) / HCB Page 28
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S2E2 13:38 (see S2E1 above)
Season 2: Episode 2 The Brazen Serpent Numbers xxi (4:21) / HCB page 36
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S2E2 16:12, 43:40
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Season 2: Episode 2* Bible on the desk, Magazine on the stand Annuel L'art Pour Tous, Cover (1861-1880 most likely)
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S2E2 22:10
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The French L'art pour tous industrial design periodical will have to be a story for another post. For now, just enjoy this 1880 edition copperplate of cherubs discovering a microscope...
Season 2: Episode 2 Imaginary page from HCB, Job KJV Job (18:1) / HCB N/A
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S2E2 22:29, S2E2 40:05 Obviously, the plate illustrations and text look different here than in the real bible, because they were created for the show. But there are a few more particularities here. For one, this layout with the thin grid around the text, as well as the paragraph symbol next to the first title, indicate that this would have been a printer's proof copy, not a finished book. It shows you the layout grid and can be annotated for changes. Second, there seems to be a war going on between fonts. Where the "chapter" of Job begins, we get a font and a style similar to the original bible, which gets rudely interrupted by a dropped capital (from the real book) and a Gothic-style font/verse numbers like in the original King James version of the printed Bible.
Season 2: Episode 3 The Brazen Serpent NUMBERS xxi (4:21) / HCB page 36
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S2E3 1:18 (see episode 2)
Season 2: Episode 5 By the Rivers of Babylon Pslam cxxxvii (19:137) / HCB page 52
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S2E5 21:20
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Season 2: Episode 6 Bible missing, L'art pour Tous on the stand Annuel L'art Pour Tous, Cover (1861-1880 most likely)
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S2E6 10:21, 17:21, 18:15, 34:28 (see episode 2)
Season 2: Episode 6 Closed HCB, L'art pour Tous on the stand behind HCB page 0
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S2E6 37:58, 44:20, 48:08
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ouidamforeman · 18 hours
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ouidamforeman · 18 hours
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reblog for sample size !!
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ouidamforeman · 18 hours
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from "gender outlaws: the next generation"
image transcript:
Let me break it down this way: some lesbians and gays feel that their issues are more important than transgender issues, because transgender people are freaks. Some transgender people—often, but not only, transsexuals—view transsexual issues as more important than the issues of, say, cross-dressers. Some among the more genderqueer portions of our community look down upon those who opt to live in a more “normatively gendered” space. There are even groups that cross-dressers feel superior to: sissies, drag kings and queens, “little girls,” and so on. Yes, I’m sure that we could follow even each of these groups and find that, eventually, everyone has someone they view as a freak.
This is a human phenomenon, and one which occurs especially, it seems, among marginalized groups. Trekkers versus trekkies versus people in Klingon costumes, or furries versus fursuiters versus, oh, plushies. I’m sure if I looked at model railroaders, I’d probably find that HO gauge fans look down at N scale, or something like that. The taxonomies are endless, often circular, and are usually graded to a fineness that would be invisible to any outsider. We just want to identify the “real” freaks, so we can feel closer to normal. In reality, not a single one of us is so magically normative as to claim the right to separate out the freaks from everyone else. We are all freaks to someone. Maybe even—if we’re honest—to ourselves.
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ouidamforeman · 18 hours
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ouidamforeman · 18 hours
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"What are you going to do?"
"Panic at any moment."
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ouidamforeman · 19 hours
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it is crazy how “if this childrens show doesn’t kill their villain at the end it’s irredeemable media” became such a popular opinion here. like people were calling steven universe fascist apologia. and to be clear I don’t even think that would be the case for non childrens media, either. perhaps holding every single story up to the same standard of “does it follow the acceptable narrative path or is it evil propaganda” isn’t the most anti-fascist thing, either. maybe.
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ouidamforeman · 19 hours
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i know it's been said a million times but i still find it so fucking funny that shax told aziraphale that he isn't crowley's type. girl crowley's type is "aziraphale." not even nerds or bookshop owners or angels, it is ONLY aziraphale.
and that makes aziraphale's reaction so much funnier because he KNOWS she's bluffing. it's SO obvious. like he's oblivious, but he's not THAT oblivious. he's literally like the only person crowley has ever willingly hung out with. like nice try but that's the worst bluff ever, i thought you were supposed to be good at this.
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ouidamforeman · 19 hours
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Yeah I read postmodern literature
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ouidamforeman · 1 day
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Angel Aziraphale 🪽✨🫧
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ouidamforeman · 1 day
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Dear Good Omens fandom friends,
can we please agree to keep our sand in our sandbox?
We have a great sandbox. It's big and full of people building castles and villages and roads and stuff. Some of that is big and complicated and detail-oriented, some of it is strange and weird and funny, some if it is off-the-rails in any and all senses of the word. All of it is lovely. Some of it tries to rebuild Neil Gaiman's sandcastle as faithful as possible, either to build onto it or to try and find out where the secret rooms might be hidden. Some of it looks a lot like his but has its own little turrets and courtyards and gardens added everywhere. Some of it looks completely different and doesn't try to hide it. Some of it isn't even meant to be taken seriously and just exists to make people laugh. But there is so much of it that everybody can find something for themselves; and if we don't we just find a free space and start shifting sand ourselves.
Neil Gaiman has his own sandbox. He has built something brilliant and beautiful in it, and he is currently busy building another storey onto it. He doesn't want anybody to see the new part before it is finished, and I know that sometimes the excitement of finally wanting to see it is hard to bear.
But that is why we have our sandbox. To make our own stuff until he reveals the rest of that sandcastle we all love so much. To pass the time, to have fun with it, to meet new people and find more brilliant little sandcastles. Never again will there be as much creativity, as much activity, as many people around in this sandbox than there is now, in the time before the last bit of his castle is revealed. I am sure most of us will be delighted and surprised at what he will have created. Some will be disappointed because they were expecting his sandcastle to look different, some will be disappointed because they saw a castle in our sandbox they liked much more, but most will be delighted because after all we came up with he will still have managed to surprise us.
Our sandbox. His sandbox.
The two are separated for a reason.
Because if you keep throwing sand into his box to get his attention, or keep trying to get a good look at what he is doing over there, or keep yelling at him to look over to ours and tell you which one looks like the one he is trying to make, or which one is the best, or how stupid one of the others looks (last one would also make you a dick), you are quite simply risking the new part of his sandcastle to collapse. Or for him to have to remake it in a way he didn't plan to, or simply dislikes, or that we will all dislike.
And just because he is glad we are enjoying ourselves and proud that his work inspired us to create all these things, doesn't mean he wants to see (all of) it. Some things he definitely wouldn't want to see; other things the creators definitely don't want him to see.
I'm proud of our sandbox. It's huge. It's brilliant. It's creative. It's collaborative. And it's ours.
Have fun in it. But keep it apart from his. Keep out of his. And keep him out of ours. Stop trying to drag him over. He has stuff to do. Important stuff. Stuff I, for one, am waiting very impatiently for.
And he will never show us the parts of the castle that aren't finished yet, no matter how often you ask. And just because he is making an effort to be funny about it doesn't mean we aren't annoying him when we keep asking.
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ouidamforeman · 1 day
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its so difficult to draw anatomy. and objects. and backgrounds. and clothing. and colors. and lighting. i honestly dont know how i ever managed to draw anything in my entire life
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ouidamforeman · 1 day
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Reading some Dr Who scholarship and well I mean this IS why I like it
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ouidamforeman · 1 day
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Surgically removed one of its hearts and then hung it on a meat hook, even
being an eighth doctor adventures fan is so hard. how do i explain to people that i want them to read an unfinished postmodernist series of 73 pulp science fiction novels from the early 2000s that's made up of a bunch of writers arguing about how to best fundamentally deconstruct dr who as a concept
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ouidamforeman · 1 day
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I don't know if anyone else has been wondering why Big Finish have been using obviously photoshopped pictures of the younger Eighth Doctor on their covers of late but I've discovered the reason: though I don't know the ins and out apparently due to rights issues BF are no longer allowed to use images from the TVM (despite having done so for nearly twenty years previously) and have to photoshop other Paul pics instead, with varying results.
Naturally, me being me, once I knew this I had to go looking for matches, didn't I? Of course I did.
First we have very obvious photos from the Dark Eyes shoot, which often results in TVM Eight with stubble; not a great look.
From the cover of Lucie Miller:
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and Doom's Day (whatever that is; I have no idea):
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Incidentally, this one may have been used again, but this time mirrored and much more heavily photoshopped, on the just-announced Sontarans vs Rutans series:
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Then there's the face taken from a bts photo dating back to the recording of Storm Warning that was spotted a little while ago on the cover of next month's In The Bleak Midwinter by @know-it-all-freak :
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And the Night of the Doctor shot that has apparently just had the collar and cravat changed for Classic Doctors: New Monsters Volume Three:
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I can't find an exact match for this one from Charlotte Pollard: The Further Adventuress but it looks similar to one used on the cover of Dark Eyes 4 so may also originate from that shoot:
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The last couple, from Audacity and The End of the Beginning respectively, are stumping me at the moment, but I'm sure BF are probably sitting on quite a few photos they've accumulated over the years and never released. If anyone else recognises them (or the one above) feel free to jump in!
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ouidamforeman · 1 day
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I don't have a caption for this just. he's a unicorn <3
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ouidamforeman · 2 days
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