#great article!

Thank you Anon! Now THIS is my type of article to read. 😃 I've always been very interested in the psychology behind all of this. 🤔 It's definitely a problem.

I haven't had a chance to read the whole entire article yet (I'm at work 😩), but just skimming, some of these quotes are very interesting indeed.

Describes sam Perfect and respectful

While acceptance of LGBTQ+ Americans has generally increased over the years (with some setbacks during the later years of the Trump Administration), it still feels remarkable, and incredibly moving for many LGBTQ+ people, to see Siwa come out publicly online. Perhaps most remarkable is the swift positive response, both from her young fanbase and Nickelodeon, to which Siwa is signed.

The composition of Siwa's fanbase, mostly kids and their parents, means the moment is a giant leap for LGBTQ+ representation in family-oriented media, and according to queer therapists, may even help families be more accepting towards their queer children.

Siwa's coming out represents broader industry progress

Siwa isn't the first young celebrity to come out while in the spotlight: fellow celebrities and online personalities like Lil Nas X, Josie Totah, and Amandla Stenberg have all come out as part of the LGBTQ+ community as teens or young adults. Siwa is one of the latest to publicly join the community.

Her coming out is part of a larger trend in young, LGBTQ+ people and celebrities choosing to do so earlier in life, GLAAD's head of talent, Anthony Ramos, told Insider. He said that it marks a transition in the entertainment world itself in regards to celebrities coming out.

"Years ago, people were so afraid to come out, and if they did it was so much later when they got to be adults," he said. "With celebrities specifically, we've all heard the stories of that apprehension to come out in fear of not getting work. I really think that when someone like JoJo does come out publicly, it sends a message that that whole era is ending and people really want to live their most authentic life."

According to The Trevor Project's 2020 National Survey on LGBTQ Youth Mental Health, over 80% of LGBTQ+ youth say out celebrities make them feel better about being queer.

Interview with Claire Anderson, the costume designer for Good Omens!

GARDEN OF EDEN, 4004 B.C.

Anderson looked at everything from Pre-Raphaelite paintings to Al Pacino’s hippie clothes in Serpico to determine just the right flow for Aziraphale’s rough-hewn robe, which has gold embroidery on the shoulders and side. Aziraphale is also wearing a golden ring, which later becomes a signet ring stamped with wings in the Victorian era.

NOAH'S ARK, MESOPOTAMIA, 3004 B.C.

“As aged as I am, I wasn’t there,” Anderson says, laughing. “And there wasn’t any painting or documentation from this era. But what we do know is that tunics remained pretty simple, and the earlier shape would have served them well for many years.” Aziraphale’s robe becomes more streamlined, and he wears gold beads at the neck.

THE CRUCIFIXION, GOLGOTHA, 33

By this time, both Aziraphale and Crawley — now Crowley — are wearing turbans and head wraps, which Anderson attributes to “a bit of vanity.” Plus the wrap helps Crowley conceal his snake-like eyes (it’s too soon for glasses). Aziraphale dons a soft leather coat over his tunic, while Crowley wears female attire of the region — an abaya.

ROME, 41 

Switching from tunics to togas was difficult, since togas contain 6 to 12 meters of fabric, which is a lot to carry around on camera. Anderson reduced the size by cutting the togas to fit for the character’s movements, and she gave each actor a thematic decorative pin to hold their togas together — Crowley a serpent and staff, Aziraphale a pair of wings (both courtesy of George Easton at Danegeld Historic Jewellery). Although history might argue that it’s too soon for sunglasses, Crowley starts to shield his eyes with a very small, eye-shaped lens. “It’s suggestive, rather than historically accurate,” Anderson says. And as a sign that Crowley is adapting to the humans around him, he also wears a silver laurel wreath.

ARTHURIAN ENGLAND, THE KINGDOM OF WESSEX, 537 

Anderson sent character descriptions and visuals for Aziraphale and Crowley to armor specialist FBFX, which sent a van to London full of pieces that could work for angelic and demonic armor. Instead of focusing on historical accuracy, Anderson looked for shapes and fit that suggested an ethereal — or snakelike — quality, once the pieces had been painted black or silver. For Crowley, she found a helmet that had a smaller face that could suggest a snakehead, and for Aziraphale, shoulder pieces that were slightly wing-like. To add to the wing effect, Anderson added a white fur caplet to Aziraphale’s armor. “It was terribly grand, but not very practical,” she says. “And the poor guys, it was murderously uncomfortable to stand around in that armor.”

GLOBE THEATRE, LONDON, 1601

Crowley and Aziraphale catch an early version of Hamlet, looking more period-appropriate than ever thanks to the Globe’s vast archive of costumes. Aziraphale’s wardrobe, which includes a neck ruff edged with gold thread, has a metallic look with a hint of iridescent blue, which opens up his color palette. Crowley, meanwhile, wears a cleaner neckline and leather on his doublet, as well as fabrics that provide sheen and luster to suggest his snaky origins.

REVOLUTIONARY FRANCE, PARIS, 1793

This is not a period to be dressed like an aristocrat, but Aziraphale couldn’t resist a lace collar, gold brocade and fitted jacket — which explains why he’s stuck in a prison cell (at least until Crowley intervenes). Crowley, more mindful of what revolutionaries would wear, dons a dark red jacket that’s almost as dark as his usual black. When Aziraphale miracle-changes his clothes, he wears the red cap of liberty. “It’s a soft beret that falls somewhere between a modern French beret and a pirate headdress,” Anderson notes.

ST. JAMES' PARK, LONDON, 1862

This is the time period with which Aziraphale gets most comfortable, fashion-wise, and settles into a Victorian look with tartan flair. Anderson also bestowed some heavenly nods to his angelic nature — a feathery velvet top hat, a stopwatch with angel’s wings on the chain, and the signet ring. Crowley, meanwhile, wears a pair of long, elegantly cut trousers that we will see again in the 1960s. “The trousers repeat, which is basically what fashion does anyway,” Anderson says. “And it’s what the story does. There are notes backward and forwards.”

THE BLITZ, LONDON, 1941

Aziraphale’s tartan necktie becomes a bow tie, and his penchant for wide lapels, a nod to his wings, continues, this time with a spear-point collar. Crowley, who comes to save Aziraphale once again, is dressed more formally, in a full double-breasted wool suit that must have been hard for David Tennant to wear in the South African heat. “The rest of the crew were in flip-flops and T-shirts, and David was in the suit, hat, and those big boots,” Anderson says, recalling the shoot.  “He had to be very physically active in that scene, and yet David didn’t complain about the heat or anything. He’s amazing.”

SOHO, LONDON, 1967