Good Old Days - Tumblr Posts
Supernatural
I'm about to re watch all of supernatural from season 1. I'm about to go on this emotional roller coaster all over again and I'm not sure if I can handle it.
Baby me
O h nooo I think my spn hyperfixation is coming back full force just from watching this -
I guess I would recommend
MY MAN 🌚❤️ (in dreams 🙂)
never watch good old days for krist perawat only to feel an inkling of curiosity about win metawin to grow in your brain into watching enigma only to feel that same feeling when bright vachirawit shows up at the end of that show (no i was not interested in his character in good old days) only to end up watching both seasons of 2gether and the movie only to put f4 thailand on your list just in time for midterm season
Commentary on Good Old Days through an exploration of its stories based in family.
An anthology series marked by the objects of significance for its various characters, Good Old Days explores many themes. Some major reoccurring explorations delve into chasing dreams, love, academic pressure, grief, and more. But what stood out most to me was the way the series handled very different uses of parents in their stories.
Every story was influenced greatly by the parental figures in their lives, whether it was Phu accepting his mother's death and moving on from it, Piang with her dad, Kai and Got coming to understand the generational trauma they were subjected to, or Mai being raised in a family whose expectations led to the death of her uncle.
I'll be focusing on three of the stories within the anthology. Bond and Relationship, Road to Regret, and Somewhere Only We Belong.
*A striking exclusion is likely Memory of Happiness, as Piang's dynamic with her father is quite central to the storyline. But I don't have quite as much to say on it compared to others. To be brief: I enjoy the idea it's going for (about taking on the family business and making it yours; both Piang and Jap transform what their parents did before them into their own, new versions, that are just as great as what came before) but I didn't enjoy some other parts (mainly in relation to how the series explains her dad's actions).
Bond and Relationship, the first story, focuses on Phu, a young man who closes himself off from creating "bonds" with people after losing his dog, Ryu, as a child. What quickly becomes apparent is that the story hopes to explore grief and the importance of finding new people.
Phu lives a solitary life, unwilling to let anyone into his life due to fear of losing them. He pushes Mint, his love interest away, and he closes himself off from caring for as long as he can. His mom, then, tries to get him to have people to lean on as best she can, because soon, she'll die of illness. In the end, Phu realizes what he was meant to learn, but loses Mint due to his unwillingness to open up. However, he takes the lesson to heart and seizes the opportunity the moment he finds someone else.
His dog, Ryu, I feel was more of an extension and prelude to the loss of Phu's mother within the context of the story. He's a gift from his mother that specifically symbolizes her care for him. In essence, losing Ryu and closing off, Phu experiences an earlier version of his mother's death.
A complication on a fairly straightforward story (in my opinion, one of the most thematically simple of the series) is Phu's status as being adopted. This is something that brings Phu to wishing to push his mother away again. It's a test of sorts on his growth, and he accepts his mother back into his heart because nothing has truly changed. His mother is still the same woman who has always loved him.
All in all, a story about losing a parent and preventing yourself from closing yourself off afterward.
Probably the most interesting to me, Road to Regret follows three people following a mother's death. Whereas the first story of the anthology focuses mainly on the growth before the death of a mother who cared for Phu in a healthy manner, this story focuses on the aftermath of the death of a mother who deeply scarred both of her children, Kai and Got.
Both Kai and Got have issues within their personal lives, and are more prickly than any of the other protagonists in the series. Kai, notably, has a tumultuous relationship with Bomb, her ex-husband, after the business they began tomorrow went south. Got, on the other hand, is flippant about Ton's feelings for him, unsure of whether or not to get closer to him or not.
Their mother was damaging to both of them. Kai was overlooked by her mother, more harshly criticized. She always had to do more, do better, was fucking up, not trying hard enough. Got was preferred. She would put extra fish on his plate as Kai watched on then chastise him for whining, since he's a guy, saying "I'm sorry for your future wife." She took the idea of him being homosexual (which he was) negatively, denying it.
Kai is the eldest daughter. She's under pressure, the one who has to bottle it all up and clean up her mother's house after she dies. Kai is aware her mother prefers her brother, and it's the cause of a great complicated bunch of emotions within her heart. And most importantly, she doesn't want to become like her mother.
Kai, Got, and Boom get in their mother's car and drive to deliver an unsent letter from their mother to the family she left. The car was what she drove when she ran away with their dad. Both Kai and Got believe it would have been better if she had stayed there and didn't have them. When they get to their destination, you come to realize what the story is all about. Generational trauma, and how it repeats itself.
Kai's mother went through many of the feelings that Kai was made to go through. She lived in a suffocating household, suffering under the misogyny of her family. She tried to run away from it all, only for her relationship to fall apart and to emulate how she was raised with her children. She mentions how women are "already inferior" to Kai when she's younger, and how she became a failure. And Kai is terrified of becoming like her mother one day. Her mother ran away with a boy, and so did Kai. She decides to leave Bomb before he can leave her, the way her dad did to his mom. Kai does not want to be left. What she realizes at the end, though, is that it isn't leaving or being left. The two exes reconcile by the end, and it's about trying again, to make a relationship better than that of what her parents had. Got, similarly, reaches out to Ton in the end. Both of them still have issues with trusting others, and yet they find hope to try by the end.
The story comes together at the end, when Kai reads the letter. It's a letter from their mother to her family, where she expresses never having been properly loved, and not being able to do the same for her own children as a result. She saw herself as a failure in how she ended up, but was at least happy that she had gotten away from her family. The last part of the letter is their mother's last words to her, and it's confirmation she realized how she fucked up as a parent. How she didn't understand them and how she hurt them with the misery that was inside of her, but that she did wish she could have been a better parent. And honestly, the letter made me feel emotional. It's like, cathartic in many ways to see something like this. Road to Regret is emotional, and imperfect, kind of like the characters in it.
It's a story about accepting the way the trauma of your lives are passed down from the ones from generations ago, and learning from it.
The final story of the anthology, Somewhere Only We Belong follows the story of Hey and Mai. The shopkeeper, Hey has been in the entire show as a prominent character preserving the memories of our other characters. Here, we learn about why Hey is the way he is, attached to the past. He was abandoned by both of his parents to go live with his grandpa, with fake promises of coming back for him. The last gift he gets is a video game console - the one he plays consistently throughout the show.
Hey learns about the importance of objects and appreciating things around him thanks to his grandpa, who becomes the one supportive figure in Hey's life. He ends up becoming attached to his video game console, playing the same games (Harvest Moon, actually) even when he's all grown up. His mom never comes back for him. And his dad just sends him expensive gifts instead of anything else.
The other lead, Mai, is a highschooler studying to become a doctor. Her mom pressures her to maintain a 4.0 GPA and to be someone who is useful, while complaining about her brother, who is staying with them, saying he shouldn't have been born. Mai's uncle is seen as a "useless" person, as an unsuccessful online writer who "writes what he believes." He tells Mai to enjoy her life, not to push herself too much. An academically pressured kid, she's always only studying - but she begins to go to Hey's vintage game shop, as the one thing that is just for enjoyment and not related to studying.
She begins to go to the game shop after school, eliciting suspicion from her mother. And the pressure on her starts to weigh on her until she starts breaking down. And then just as her mother finds out about Mai going to the gameshop, her uncle commits suicide. It's a turning point of the story, and the way the series shows just how expectations that separate people into worthy or unworthy based on their success are harmful.
In many households, children are pressured out of finding what they actually enjoy and wish to pursue and into studying with only the goal of top grades and getting into prestigious universities. What Somewhere Only We Belong explores, here, is when it goes too far, and how it harms everyone. Hey pushes Mai away because of what he thinks is best for her, as society sees it, preventing both of them from pursuing what was growing between them.
Mai, in the end, is able to escape from the pressure brought upon her by her family. She goes to study abroad, to follow her dreams, the way she deserves to. Mai heals from what was pushed onto her, by leaving.
And then we come back to Hey, our nostalgic memory keeper, as he loses his shop and has to learn to move on from the past. What I found the best showcase of how Hey's abandonment factored into this was how he would listlessly play the console that he got as he was truly abandoned by both of his parents, stuck in the past. And when he learned to move on, to stop keeping it in his heart, he began to play new games. And it's with this that he's able to heal from the past and go after what he was once unable to, reuniting with Mai finally, and playing mobile games with her. Hey and Mai reunite with what they both love, but it's a new form of it, as they've both grown up and changed; they can start again.
It’s time to put an end to this
@myherowritings ... clearly ... you love bakugou ;))
I think this is an interesting point, like when people say, "everyone gets cancer now"
Yes, people used to die of "old age" or "consumption" or they "took ill" and then they were just dead. if no one else died, and it wasn't contagious, that was the end of it. I am sure tons of those people died of cancer, or other things we can now identify.
On this note, it's like people saying, "cave men didn't eat grain" or "people didn't used to have babies in hospitals". and both true. People also died very young, and often in child birth.
People have this rose colored nostalgia for how great things were, when they were a child, things were simpler, and they only lost the one sister to polio, but it was better then, really.
Not quite there yet, but give me like 10 years, and I will romanticize my childhood the same way. Just because I lived, doesn't mean things were better.
Today I thought about my time at Oxford, and oh how I miss those days.
New York City in the 90s 🫶🏼
1. WTC, 1992
2. New York skyline, 1996
3. 42nd Street, 1996
4. Times Square, 1994
Ngl I remember having a pet rabbit, (his name was Peter) and whenever I would get a McDonald’s happy meal, I’d save the apple slices and give it to him.
everyone's been offering snacks to BTC Springtrap, so I gave him a plate with lettuce, apple, banana and carrot slices
How much I miss watching videos on YouTube with the computer at the Telephone Center in the years 2014 2015 2016 during the summer. It was a whole different atmosphere/vibe.
This is an example but this is my elementary school
This made me so emotional I don't even know why. Everything in GO is so special. Everybody involved is greatly invested in their art, work and it's so very moving to me. To actors being excited about their character, to author being so open to share with us, to every crew members researching and crafting meticulousely.
To me, this absolute attention to detail is a pure declaration of Love. It must be so much fun and rewarding to see people notice these subtle but so important items or understand those references. Everytime I read something like that, my inside world just expand like a web of new possible interests.
Sometimes I think of the past. Legendary artists that existed before I was born and I ask myself if, for example, people in the crowd of the Queen Live Aid show realized how utterly extraordinary it was. Did people just stop for a moment and tell themselves " I am living History right now " ? Are we really aware of good times before they only becomes good old times ? I really think that this fandom makes its best to be aware. How lucky are we to be able to witness this moment in time where people join their best efforts to create such amazing art ? I'm sure they do that for themselves and the love of a work well done, but they do that for us too ! I do hope they know that we see them and how much we appreciate worship their work.
I truly believe that in 30years Good Omens will still be a example of a high quality TV series that brought people together as a community, that sparked so much inspiration in other artists minds and simply put delicious spice into our daily lives. I cannot wait to read the book and watch the show with my niece, when she's old enough to learn english though.
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.”
Not only that, we had to pay good money for the zine based on the description of all the stories, a description that was usually a single page with a graphic of the show and a big heading, and only a few very short paragraphs actually describing the stories.
And then we walked uphill both ways in the snow to the mailbox to pick up the zine and cherished every second of reading it, because it was so freaking amazing that editors and authors spent their free time to entertain us. And we were always impatient to buy MORE.
I still remember the rush of dropping $200 in maybe two hours at the zine tables at a convention’s dealers’ room. Such a thrill. Good times! 😃
how the hell did we manage before ao3’s careful warnings for every fic? we really just went raw into fanfictions with no warnings or descriptions? just said, “this could have cannibalism in it for all i know, let me read it and find out.”
Guys, tell me what you were obsessed with or did or loved as a kid. For me, i was obsessed with Willy Wonka and the chocolate factory, I wanted to be like Willy Wonka and own the chocolate factory as I loved chocolate. Or just fabricate a memory you think would be cool. I'm collecting stories, i would like to hear yours. Or simply tell me what you wanted as a kid. I'm looking for inspiration. I am dedicating a whole journal for this. I will write each story I receive in it.