much needed reupload of one of my favorite instances of musical timing in ANY CARTOON. this is one of those scenes where i've been mulling over how to properly express the sheer catharsis and wonderment this clip gives me, pontificate and try to sound smart by gushing about the animation technique or the behavioral implications within the scene but i truly think it's an instance where brevity works best: I LOVE IT
Donald and Huey, Dewey, & Louie
"Donald's tendency to lash out was wildly unfocused, until you kids came along. He came to me wanting to be the best parent he could, so we channeled that anger into protective instincts. Every outburst is Donald wanting to protect his family. He loves you so much, the thought of anything bad happening to you INFURIATES HIM!"
It's been said by one of DT17's developers that if Mickey had appeared in the show, he would've been Donald's incredibly idealistic old roommate (to contrast Donald's cynicism) who became an insanely successful Hollywood actor, but the real question is what would Oswald's DT17 counterpart be like
That's such a great question.
I do see him being good friends with Donald, but I'm not sure if that's a thing that would even show up on the show
I'd love to see them side by side, it would be pretty cool to see them interact
How colors make the Good Omens s2 credits split-screen scene even worse
Because that's a thing we need, right? But no, really, come with me on a magical, colorful journey of sadness and screenshots.
Season 2 of Good Omens leans into the coding of locations by color... I would say even more so than the first season. What do I mean by that?
I mean that Earth (and specifically the bookshop) is warm and colorful with reds, browns, yellows (yes Aziraphale, we see what you did there, it isn't exactly subtle to paint the walls the color of your boyfriend's eyes) and pops of blue.
As an aside... You know what has a similar color scheme (with the saturation and vibrance turned up to 11)?
On the other hand, Heaven is white and cold, with almost no color to speak of.
And Hell is dark and grimy with a green overcast.
See the contrast (also not subtle) between the Heaven and Hell coloration? The entire season is training our eyes to make those connections, and then when they drop the credits on us the show makers can divide and distance our heroes. Not only by the text crawl but also with some Hell/Heaven coloration... to really drive home the point of how far apart they are. Crowley is dark, in a slightly green tone. Aziraphale is light and drained of color.
But wait Duck! (you say) Surely this is because Crowley is in the dark Bentley with his plants in the background. Well, yes, but LOOK at how the exact same split-screen shot is lit in the first episode. I swear I didn't edit either of these images a bit. Look how much brighter and warmer and less green Crowley looks. You can really see the green (or lack thereof) on the ceiling of the Bentley.
My point is that this was a choice. The show makers chose violence by how they edited these images, pure and simple. (And it has nothing to do with dolphins)
From beyond a cinematography perspective to the meta can we say that this means Crowley is going to return to Hell like Aziraphale is returning to Heaven? I personally don't think so, I think he's just in his own individual hell here... but hey, we'll (hopefully) see!