{ Words by Megan Fernandes, from "Fabric in Tribeca," in Good Boys / Silas Melvin, from "Twenty," Grit }
Elisabeth Ohlson Wallin
#Aziraphale didn’t know he was starving for Crowley’s love until he tasted him.
Let me tempt you to a spot of lunch?
The Magpie, Claude Monet, 1868-69
Happy birthday, Claude Monet (Nov. 14, 1840 - Dec. 5, 1926).
Art by Katherine Blower 👻
I get lost thinking about the journey Crowley makes from Eden to the Apocalypse. I completely adore pre-Flood Crawly, the way that he’s still gleeful and curious about the world. He’s such a wily mischief fluff.
In praise of terrific and deliberate costume design: I can’t believe it took me this long to notice the way he gradually covers up his eyes more and more. After the Flood, she has her head covered. The next time we see him, post-Crucifixion, the sunglasses have arrived. And the specs get progressively larger over time, hiding more and more.
(I particularly love the L-shaped lenses in 1862.)
By the time we reach the Apocalypse, the glasses are opaque and completely closed off. Solid, armored protection on all sides.
(I know I didn’t catch every era, don’t @ me, tumblr gif search is the worst and the general progression seems fairly obvious, especially because of where it ends.)
You can see the progression on Crowley’s face too, of course. Watching Humans being Humans for so long starts to get to a demon. The glasses have to be impenetrable when this is where time and the Ineffable Plan have brought you.
(Got to be careful who gets to see you with the glasses off.)
(Got to have a whole glove box filled with extras so as never to be caught without them.)
There is something carefree about Crowley’s very first park bench scene with Aziraphale, in ep1. But it’s such a different kind of carefree than we used to see before the Flood. It’s world-weary, resigned, cool. He’s seen it all and he knows how the game is played.
This contrast, to me, is so perfect: he’s still Crowley. He’s just been around the block a few times by now.
And even after all of this, he wants to save the world.
Mozu: 名古屋展 (2021)