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yeoldenews · 3 months

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A Guide to Historically Accurate Regency-Era Names

I recently received a message from a historical romance writer asking if I knew any good resources for finding historically accurate Regency-era names for their characters.

Not knowing any off the top of my head, I dug around online a bit and found there really isn’t much out there. The vast majority of search results were Buzzfeed-style listicles which range from accurate-adjacent to really, really, really bad.

I did find a few blog posts with fairly decent name lists, but noticed that even these have very little indication as to each name’s relative popularity as those statistical breakdowns really don't exist.

I began writing up a response with this information, but then I (being a research addict who was currently snowed in after a blizzard) thought hey - if there aren’t any good resources out there why not make one myself?

As I lacked any compiled data to work from, I had to do my own data wrangling on this project. Due to this fact, I limited the scope to what I thought would be the most useful for writers who focus on this era, namely - people of a marriageable age living in the wealthiest areas of London.

So with this in mind - I went through period records and compiled the names of 25,000 couples who were married in the City of Westminster (which includes Mayfair, St. James and Hyde Park) between 1804 to 1821.

So let’s see what all that data tells us…

To begin - I think it’s hard for us in the modern world with our wide and varied abundance of first names to conceive of just how POPULAR popular names of the past were.

If you were to take a modern sample of 25-year-old (born in 1998) American women, the most common name would be Emily with 1.35% of the total population. If you were to add the next four most popular names (Hannah, Samantha, Sarah and Ashley) these top five names would bring you to 5.5% of the total population. (source: Social Security Administration)

If you were to do the same survey in Regency London - the most common name would be Mary with 19.2% of the population. Add the next four most popular names (Elizabeth, Ann, Sarah and Jane) and with just 5 names you would have covered 62% of all women.

To hit 62% of the population in the modern survey it would take the top 400 names.

The top five Regency men’s names (John, William, Thomas, James and George) have nearly identical statistics as the women’s names.

I struggled for the better part of a week with how to present my findings, as a big list in alphabetical order really fails to get across the popularity factor and also isn’t the most tumblr-compatible format. And then my YouTube homepage recommended a random video of someone ranking all the books they’d read last year - and so I present…

The Regency Name Popularity Tier List

The Tiers

S+ - 10% of the population or greater. There is no modern equivalent to this level of popularity. 52% of the population had one of these 7 names.

S - 2-10%. There is still no modern equivalent to this level of popularity. Names in this percentage range in the past have included Mary and William in the 1880s and Jennifer in the late 1970s (topped out at 4%).

A - 1-2%. The top five modern names usually fall in this range. Kids with these names would probably include their last initial in class to avoid confusion. (1998 examples: Emily, Sarah, Ashley, Michael, Christopher, Brandon.)

B - .3-1%. Very common names. Would fall in the top 50 modern names. You would most likely know at least 1 person with these names. (1998 examples: Jessica, Megan, Allison, Justin, Ryan, Eric)

C - .17-.3%. Common names. Would fall in the modern top 100. You would probably know someone with these names, or at least know of them. (1998 examples: Chloe, Grace, Vanessa, Sean, Spencer, Seth)

D - .06-.17%. Less common names. In the modern top 250. You may not personally know someone with these names, but you’re aware of them. (1998 examples: Faith, Cassidy, Summer, Griffin, Dustin, Colby)

E - .02-.06%. Uncommon names. You’re aware these are names, but they are not common. Unusual enough they may be remarked upon. (1998 examples: Calista, Skye, Precious, Fabian, Justice, Lorenzo)

F - .01-.02%. Rare names. You may have heard of these names, but you probably don’t know anyone with one. Extremely unusual, and would likely be remarked upon. (1998 examples: Emerald, Lourdes, Serenity, Dario, Tavian, Adonis)

G - Very rare names. There are only a handful of people with these names in the entire country. You’ve never met anyone with this name.

H - Virtually non-existent. Names that theoretically could have existed in the Regency period (their original source pre-dates the early 19th century) but I found fewer than five (and often no) period examples of them being used in Regency England. (Example names taken from romance novels and online Regency name lists.)

Just to once again reinforce how POPULAR popular names were before we get to the tier lists - statistically, in a ballroom of 100 people in Regency London: 80 would have names from tiers S+/S. An additional 15 people would have names from tiers A/B and C. 4 of the remaining 5 would have names from D/E. Only one would have a name from below tier E.

Women's Names

S+ Mary, Elizabeth, Ann, Sarah

S - Jane, Mary Ann+, Hannah, Susannah, Margaret, Catherine, Martha, Charlotte, Maria

A - Frances, Harriet, Sophia, Eleanor, Rebecca

B - Alice, Amelia, Bridget~, Caroline, Eliza, Esther, Isabella, Louisa, Lucy, Lydia, Phoebe, Rachel, Susan

C - Ellen, Fanny*, Grace, Henrietta, Hester, Jemima, Matilda, Priscilla

D - Abigail, Agnes, Amy, Augusta, Barbara, Betsy*, Betty*, Cecilia, Christiana, Clarissa, Deborah, Diana, Dinah, Dorothy, Emily, Emma, Georgiana, Helen, Janet^, Joanna, Johanna, Judith, Julia, Kezia, Kitty*, Letitia, Nancy*, Ruth, Winifred>

E - Arabella, Celia, Charity, Clara, Cordelia, Dorcas, Eve, Georgina, Honor, Honora, Jennet^, Jessie*^, Joan, Joyce, Juliana, Juliet, Lavinia, Leah, Margery, Marian, Marianne, Marie, Mercy, Miriam, Naomi, Patience, Penelope, Philadelphia, Phillis, Prudence, Rhoda, Rosanna, Rose, Rosetta, Rosina, Sabina, Selina, Sylvia, Theodosia, Theresa

F - (selected) Alicia, Bethia, Euphemia, Frederica, Helena, Leonora, Mariana, Millicent, Mirah, Olivia, Philippa, Rosamund, Sybella, Tabitha, Temperance, Theophila, Thomasin, Tryphena, Ursula, Virtue, Wilhelmina

G - (selected) Adelaide, Alethia, Angelina, Cassandra, Cherry, Constance, Delilah, Dorinda, Drusilla, Eva, Happy, Jessica, Josephine, Laura, Minerva, Octavia, Parthenia, Theodora, Violet, Zipporah

H - Alberta, Alexandra, Amber, Ashley, Calliope, Calpurnia, Chloe, Cressida, Cynthia, Daisy, Daphne, Elaine, Eloise, Estella, Lilian, Lilias, Francesca, Gabriella, Genevieve, Gwendoline, Hermione, Hyacinth, Inez, Iris, Kathleen, Madeline, Maude, Melody, Portia, Seabright, Seraphina, Sienna, Verity

Men's Names

S+ John, William, Thomas

S - James, George, Joseph, Richard, Robert, Charles, Henry, Edward, Samuel

A - Benjamin, (Mother’s/Grandmother’s maiden name used as first name)#

B - Alexander^, Andrew, Daniel, David>, Edmund, Francis, Frederick, Isaac, Matthew, Michael, Patrick~, Peter, Philip, Stephen, Timothy

C - Abraham, Anthony, Christopher, Hugh>, Jeremiah, Jonathan, Nathaniel, Walter

D - Adam, Arthur, Bartholomew, Cornelius, Dennis, Evan>, Jacob, Job, Josiah, Joshua, Lawrence, Lewis, Luke, Mark, Martin, Moses, Nicholas, Owen>, Paul, Ralph, Simon

E - Aaron, Alfred, Allen, Ambrose, Amos, Archibald, Augustin, Augustus, Barnard, Barney, Bernard, Bryan, Caleb, Christian, Clement, Colin, Duncan^, Ebenezer, Edwin, Emanuel, Felix, Gabriel, Gerard, Gilbert, Giles, Griffith, Harry*, Herbert, Humphrey, Israel, Jabez, Jesse, Joel, Jonas, Lancelot, Matthias, Maurice, Miles, Oliver, Rees, Reuben, Roger, Rowland, Solomon, Theophilus, Valentine, Zachariah

F - (selected) Abel, Barnabus, Benedict, Connor, Elijah, Ernest, Gideon, Godfrey, Gregory, Hector, Horace, Horatio, Isaiah, Jasper, Levi, Marmaduke, Noah, Percival, Shadrach, Vincent

G - (selected) Albion, Darius, Christmas, Cleophas, Enoch, Ethelbert, Gavin, Griffin, Hercules, Hugo, Innocent, Justin, Maximilian, Methuselah, Peregrine, Phineas, Roland, Sebastian, Sylvester, Theodore, Titus, Zephaniah

H - Albinus, Americus, Cassian, Dominic, Eric, Milo, Rollo, Trevor, Tristan, Waldo, Xavier

# Men were sometimes given a family surname (most often their mother's or grandmother's maiden name) as their first name - the most famous example of this being Fitzwilliam Darcy. If you were to combine all surname-based first names as a single 'name' this is where the practice would rank.

*Rank as a given name, not a nickname

+If you count Mary Ann as a separate name from Mary - Mary would remain in S+ even without the Mary Anns included

~Primarily used by people of Irish descent

^Primarily used by people of Scottish descent

>Primarily used by people of Welsh descent

I was going to continue on and write about why Regency-era first names were so uniform, discuss historically accurate surnames, nicknames, and include a little guide to finding 'unique' names that are still historically accurate - but this post is already very, very long, so that will have to wait for a later date.

If anyone has any questions/comments/clarifications in the meantime feel free to message me.

Methodology notes: All data is from marriage records covering six parishes in the City of Westminster between 1804 and 1821. The total sample size was 50,950 individuals.

I chose marriage records rather than births/baptisms as I wanted to focus on individuals who were adults during the Regency era rather than newborns. I think many people make the mistake when researching historical names by using baby name data for the year their story takes place rather than 20 to 30 years prior, and I wanted to avoid that. If you are writing a story that takes place in 1930 you don’t want to research the top names for 1930, you need to be looking at 1910 or earlier if you are naming adult characters.

I combined (for my own sanity) names that are pronounced identically but have minor spelling differences: i.e. the data for Catherine also includes Catharines and Katherines, Susannah includes Susannas, Phoebe includes Phebes, etc.

The compound 'Mother's/Grandmother's maiden name used as first name' designation is an educated guesstimate based on what I recognized as known surnames, as I do not hate myself enough to go through 25,000+ individuals and confirm their mother's maiden names. So if the tally includes any individuals who just happened to be named Fitzroy/Hastings/Townsend/etc. because their parents liked the sound of it and not due to any familial relations - my bad.

I did a small comparative survey of 5,000 individuals in several rural communities in Rutland and Staffordshire (chosen because they had the cleanest data I could find and I was lazy) to see if there were any significant differences between urban and rural naming practices and found the results to be very similar. The most noticeable difference I observed was that the S+ tier names were even MORE popular in rural areas than in London. In Rutland between 1810 and 1820 Elizabeths comprised 21.4% of all brides vs. 15.3% in the London survey. All other S+ names also saw increases of between 1% and 6%. I also observed that the rural communities I surveyed saw a small, but noticeable and fairly consistent, increase in the use of names with Biblical origins.

Sources of the records I used for my survey:

Ancestry.com. England & Wales Marriages, 1538-1988 [database on-line].

Ancestry.com. Westminster, London, England, Church of England Marriages and Banns, 1754-1935 [database on-line].

#history #regency #1800s #1810s #names #london #writing resources #regency romance #jane austen #bridgerton #bridgerton would be an exponentially better show if daphne's name was dorcas #behold - the reason i haven't posted in three weeks

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mollyrealized · 2 months

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How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"

We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

#neil gaiman #michael sheen #david tennant does a podcast with...#good omens #aziraphale #crowley #sushi #whale #the cove #oscars 2010 #coraline #mini secret compartments #howneilmetmichael #howmichaelmetneil

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oflgtfol · 11 months

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that thing my SM said is still irking me so badly i guess bc it echoes concerns from my friends and family and even my own insecurities and has roots in what my depression over the past few years has robbed from me and so to hear it now from my fucking michaels store manager of all people it’s like oh fuck off. Completely fuck off

#brot posts #delete soon #this is literally sending me on a downward spiral tonight i was doing so good but now since she to #told me that im like going insane #especially bc its based off something i told to him in a passing (private!) conversation when just us two closed together on wednesday #like you take something i barely mention in passing and then talk about it behind my back in such a back handed insulting way #and hitting me right in the depression-based-insecurity thats been bothering me forever now #its just so. this completely derailed my night lmfao #im glad my manager told me and she said shes texhnically not supposed to since yknow im a normal employee and shes a manager #but she was like. i consider you a friend and so im gonna tell you anyway #and she was saying how like mean spirited it was and how she and the other managers were mad he said that bc they all like me #and like thats i appreciate it but im like #its not even what he said like it wasnt hateful it was just. mean spirited and lowkey insulting #and the fact it is something ive been struggling with now for so long makes it feel like. painfully true #instead of just oh fuck him hes wrong like its hitting me right in the insecurity like i hope to god hes wrong but what if hes right #so i spent my whole last 2 hours just saying to myslef. if hes right. im killing myself for real #and its like why am i getting suicidal over what my fucking michaels store manager said like girl its MICHAELS #but its also like GOD HE GOT ME RIGHT IN THE DEPRESSION #HOW DID YOU KNOW THAT WAS MY WEAK POINT !!!#im just. AHHHHHHHHHHHHH

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seattlesellie · 5 months

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Jealous. 🎀

pairing: ellie williams x fem!reader

cw: mean dom!ellie sub!reader, jealous kinda toxic ellie, eating it through the panties, orgasm denial, spit play (literally spits down ur panties like), exhibitionism, some dude named michael.

an: pls be gentle, i haven’t written in a long time! 💗 credit to angel gbc for the mod used in the picture above <3

something we can all agree on is the importance of aftercare — right?

Ellie is big on that obviously, as she should. Caressing her slim fingers down your body, planting wanton kisses on your shoulders, running her palms across your shaky thighs, whispering words of encouragement in your ear;

“Did so good for me, babe”

“I love you, so much”

“Need anything? hm?” She’d murmur against your skin whilst cradling your body from behind.

And she always insists on cleaning you up. She consistently renders you nothing but an achy mess, dried up juices staining your wobbly jelly thighs, combined sweat on your breasts and ribs, back of your neck. The ritual of bringing a wet towel to bed, swiping it’s fabric across your inner thighs, your face, your behind — is a sacred one for her. Not solely because she loves hearing your sweet, exhausted sighs of relief as she cleans the soil away, but also not solely because she gets to see your naked body in all of its glory again.

It’s the act of taking care of what’s hers. In a way, when she wipes your cum away, she’s taking care of herself — too.

Here, lays a solid proof that she can break things apart and put them back together again. She’s not a total fucking fuckup.

The ability of making you scream and cry, then moments later have you whisper in that saccharine voice of yours an airy “love you s’much, Els…”

It’s fucking exhilarating.

She loves it every time, she does it every time.

But today… today you pissed her off. You poked the bear, for real this time.

There’s this new Michael guy in Jackson. He’s handsome, tall, has coal black curls that somehow stay soft and shiny even in this apocalyptic hellscape. He told Ellie and you where he was from, what he did, why he came. Ellie didn’t listen to a thing he was saying. It was like he turned into a fly and started loudly buzzing in her ear. He kept looking at you weird. Smiling at you, smirking, laughing at your jokes, even the ones that weren’t all that funny. She knows you have this affect on people, that damn charm, hell — you have this affect on her.

And she’s usually just playfully jealous, manages to keep it relatively tame and simple by tightening her grip on your waist.

But you just wouldn’t stop bringing him up. “Michael” this, and “Michael” that, “Michael invited us for dinner”, “Michael said this funny thing earlier”,

For all Ellie knows Michael could die in a ditch and she wouldn’t give a fuck.

You're on your way back home from the Tipsy Bison on a chilly Thursday night. Jesse was there, Dina, Maria... and Michael. She thinks of his name and it leaves a bitter taste in her mouth, tart, pungent.

"Meh, I'm more of a Tequila girl, Whiskey tastes like shit" you announced with a giggle. Michael rested his hand on your thigh, and agreed with a nod and a chuckle. For you, it meant nothing.

For Ellie, it meant everything.

Her blood pressure was usually low, steady, healthy as a bull. As of now, Ellie felt like she just ran a marathon. The blood rushed to her head and her brows furrowed without intention. She cracks her neck and moves it left and right, takes a long and burning sip out of her Whiskey and shuts her eyes. She repeats a mantra in her head; "I'm not angry, I'm not angry, It's fine."

But you're so damn intuitive.

"Els? y'tired?" you murmur towards your auburnette girlfriend. She suckles on her bottom lip and considers saying no, but she lies.

"Exhausted"

You leave the humble bar hand in hand, wrapped up in her big coat that smells of mint and wood and Ellie. She prays you won't mention his name, prays you could just go home and forget about this whole thing, but you do, innocently.

"Oh, Michael said one of the horses is sick, I'm thinking of helping out in the barn tomorrow an—"

She stops you mid sentence with a scoff and a tightening grip on your hand. "Oh, mhm, Michael said that?"

Her voice mocks your own a little.

You stop and shift your gaze towards Ellie who has her lips tucked in a tight line. Internally, she's cussing herself out. You don't deserve her anger, but she can't help herself. Your answer is an unsure hum. Her grip tightens even more, and it hurts your palm but you keep on walking side by side, quietly. Five minutes manage to pass with no words being muttered by no one. That's until she shakes her head and lets go of a husky chuckle.

"Did I do something?", you mutter doe eyed. Ellie stops in her tracks and inhales. She grabs you by your waist and walks towards you, making you have to clumsily pace backwards until your back meets a cold grey brick wall with a resounding thud. "Uhg!" You hiccup, breath catching down your throat. You even sweetly giggle, thinking in your head that this could possibly be just a sweet attack of PDA.

But her eyes are dark, gone from emerald to pine, pupils pitch black as big as a button. Her warm whiskey breath meets your nose and your top lip, you gulp. Why isn't she laughing? teasing?

"El?" your voice is still candied, always. Ellies mouth is agape, scarred eyebrows scrunched and furrowed as if she's confused, or pissed, or provoked. Her forehead meets yours so automatically, you attempt to connect your lips with a kiss but she backs away meanly. Albeit her taunting position, how intimidating and truly scary she looks whilst you're caged within her frame, your'e still smiling, you're still thinking she's just teasing.

You're not used to this, she knows, but god knows she yearns to teach you a lesson.

You don't fuck with what's hers.

She licks her bottom lip before she starts speaking.

"Take off your skirt"

Her voice nearly renders you drunk, It's huskiness, gruffness, it's depth, and really, you've only had one shot. Your cheeks heat up and your ears feel as if they're nearly burning. Her lips are so damn close to yours and she still won't let you kiss her.

"Wh... we're in public, we can't—" you stutter, eyes shifting downwards towards the knee she has shoved near your barely covered crotch. When she brings it upwards just to brush delicately on your inner thigh, you let go of a small gasp.

She responds to your gasp with a barely audible "Mhm?", her eyes sharpening with intent.

"Yes we can", she tsk's, and her voice taunts. Her eyes graze over your face, and you expect her next sentence to bite like the last one did, but her voice goes softer. "For me?", she cocks her head to the side.

And it simply pushes you over the edge.

You peel your skirt off of your body, asscheeks plastered over the brick wall as her body squeezes you further back, and you're left half naked with a piece of fabric scrunched below your knees, resting on your shoes. She eyes your body up and down, meeting your pleading and still confused eyes — and for a moment, thinks of just carrying you home and taking care of business once you get there. No jealousy, none of that.

But it's still bitter down her throat, and she can still picture his disgusting hand meeting your soft thigh, her soft thigh — as your body is hers, so that thought is ever so fleeting. It's either now or now.

Her cold as ice finger traces faint circles on your lower tummy, making the fine hairs of your body rise like soldiers. You whimper quietly as her finger snaps the elastic band of your panties and lets it smack down your pelvis. You rub your thighs together, but you're ever so pliant as she makes your legs spread wide with a boot covered foot opening up your calves like a gate.

She whispers in your ear. "Are you wet?", it makes you shiver.

"M'cold" you whine.

She scoffs.

She kneads your bra cup with her palm, squeezing an erect nipple with her thumb and middle finger. "Didn't ask that"

Her eyes meet your gaze and again she reconsiders this whole thing — because you truly look so needy, and your lips are so pouty and sweet and red with cold, you look as if you'd die if she didn't kiss you right now so how can she even be worried, let alone be jealous?

She knows how much you love her, how much you yearn for nobody but her, how her touch leaves you speechless time and time again.

But it's like something takes over, a dark figure, a figure that's thirsty and starving and wants to prove a thing it already knows.

It's an internal struggle, she doesn't want to be possessive,

She can't help it.

Your panties are striped with pink and white, and she looks at them as if they're the most expensive lace in the whole entire world. Her breathing gets heavier as she curls her fingers inside the cotton fabric, pupils darkening when she notices a sweet clear string of your arousal clinging from the entrance of your cunt to the bottom of your underwear.

She chuckles, followed by a sigh of relief that you notice. You are wet, right in the middle of the street where an innocent soul could catch you at any given moment. "Didn't answer cause you're shy?" She knows you so well. You bite your lip and nod, butterflies fighting in the pits of your stomach. A chaste kiss on the lips is all you get from her, and you deeply whine into the air. "At least kiss me!" you beg, — god, you're so cute when you're pissed.

Before landing on her knees, Ellie looks from side to side in order to check that there's truly nobody around, and no — not because she's scared to get caught, but because she'd die before she let someone see her girlfriend half naked with her skirt down her thighs.

Ellie is face to face with your quivering, pantie covered cunt. A wet patch greets her — a fuckin' pleasure, one she can't help but swipe her tongue across. Your choked up, terrified sound of a moan is a symphony to her hears, fuck Mozart. Her eager muscle of a tongue is so warm against your pussy you nearly forget it started snowing yesterday.

You buck your hips inwards, she groans. "No moving", she warns — simply to assert a dominance that has already been asserted. She kisses your little clit, coo's at the way it slightly pokes out of the fabric, erect and pumping on her tongue. "Ellie... Ellie... Ellie", you babble like a prayer, which she nods to. "S'my name, that's fuckin' right", she groans as her husky voice is muffled by your soaked panties.

"Ellie..." you repeat, thighs beginning to ache as you try and spread them further apart, almost sitting on her face.

Ellie, not Michael.

She smiles, greedy, triumphant.

She flicks her tongue on your clit, once, twice, three times before biting on your meaty pussy lips. You bite your knuckles in order to keep your voice down, but she glares up at you. "Do that again n'I swear to god I'm stopping" she growls.

You're not used to this side of her at all, but her voice makes your hole leak a small stream from deep inside. She feels it's wetness on her tongue, eyes closing in ecstasy as she audibly suckles your sweet, tangy, heavenly juices from the now sheer fabric. Her own spit runs down her chin, she doesn't even bother to wipe it off. All you can hear are your breathy, whiney moans, tiny begs of "take 'em off, please", regarding your panties, and Ellie's throaty groans. You're so wet from your own juices and her saliva it nearly gets uncomfortable, but then again you're so goddamn close to cumming.

You try taking matters to your own hands, attempting to peel off your panties from your waist with a shaky hand but she snarls and slaps your wrist away.

"Nuh uh, pussy's fuckin' mine, don't touch it"

With relentless sucking on your drenched clit, and soiled panties, she opens her eyes to merely glare at you again with a warning look. "When you're close, you let me know" she bites.

You don't respond.

A stinging slap meets your pussy, which makes your thighs shake, whole body jolt, and throat ache with a high pitched yelp.

"You're not listening" Ellie warns.

"You listen when I talk" she warns again. Her tongue meets your clit and it pushes it further and further up. You shake, eyesight gone blurry, you're close, you know it by the way the coil down your stomach threatens to snap, and by the way it tickles down there so damn bad.

"M'close" you brokenly wail.

She grunts deeply and stops completely. your heart nearly breaks, no no no no no. "Ellie, Ellie, Els, no!" You try and buck your hips forward but she holds you in place with an iron like grip. You buck them again and she peels off the fabric of your underwear, slightly rising up as she stares inside at the mess she made of you. There's a devilish smirk that creeps up from her lips, apple of one cheek rising. You let out a sigh of relief, thinking that perhaps she'll actually fucking eat you out properly instead of letting you suffer inside a warm, wet material of a mess that truly doesn't look like something wearable anymore. Instead, she audibly spits inside with a "Ptu'", letting the band snap shut. Her saliva mixes with your warm sleek. You're so confused she nearly feels bad, but she's such a cunt that she really doesn't.

"Were going back inside," she murmurs so casually as if she didn't just fuck you up in the middle of the street, as if her chin isn't shiny with your precum. "N'if Michael puts his hand on you again, I'm eating it in front of him"

#ellie williams #ellie williams x reader #ellie x reader #ellie williams smut #ellie williams fanfiction #ellie williams x you

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vidavalor · 7 months

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Crowley actually says a barely-coded "I love you" to Aziraphale back in 2.03

In his proposal in the S2 finale, Crowley told us that he and Aziraphale know they're in love and have known it for damn ever but they pretend they're not a couple. This, by default, means that they've not specifically said the words "I love you" before, by Crowley's own admission. They've said I love you in their own little language and we've watched it before. It's little demonic miracle of my own. It's don't go unscrewing the cap. It's just a little bit of a good person and just enough of a bastard to be worth knowing... But what Crowley says in the S2 finale is that they've never-- ever-- said in 6,000 years is just I love you in those normal people, human words. It has always been too dangerous for too many reasons to count so they have euphemisms for it and whole conversations around it and have made that be enough. Why do I bring this up? Because Crowley found a middle ground between the words and their coded language with one another in S2 and it's flying under the radar.

So you know that scene when Muriel has shown up and interrupts Crowley and Aziraphale talking in the back room? The one where while Crowley is speaking, Aziraphale suddenly looks like he's about to pass out with sheer want? Yes, our angel always looks at Crowley like he hung the damn moon (which he did but lol...) but this scene is different. This scene is like... someone get Aziraphale a chair and a glass a water because he is pupils-dilated, audibly breathing, and eyeing up Crowley with naked want. More than the lust? He looks happy. He looks delighted. You can basically hear his heart race from that look on his face. Why here? Yes, Crowley looks hot. Yes, he's in profile in a way that is a visual parallel to Before the Beginning (which was an inspired choice for this scene.) Yes, he's here with a Plan and taking charge of the Muriel situation and swaying his hips a bit while he speaks. It's not any of that. Those are nice bonuses. Aziraphale likes them. He gets them all the time. It's what Crowley said in this moment. To Aziraphale. Through what he said to Muriel.

Crowley cracks a dry, kinda dark joke that is meant for an audience of one: just Aziraphale. He knows Muriel won't get it. Since Muriel is cosplaying as what they think is a human Inspector Constable and they are here to verify the miracle Aziraphale has told Heaven and so are monitoring them, Crowley quips that Muriel is here to spy on them (since they, well, are, actually) and that he knows that many human police officers like to make a bit of a hobby out of spying on "people in love."

People. In. Love.

In a one-two punch in the same sentence, Crowley called him and Aziraphale queer humans and he called what they have love, using the actual word *aloud* for the first time in 6,000 years. He said he loved Aziraphale in front of an angel of Heaven in a little coded joke but this time, using the coded bit to say the real thing for the first time.

Then, just to hammer it all home and make sure that Aziraphale really knows it was very much intentional, Crowley says 'love' again in the next sentence. He starts going on about how Muriel can come to him anytime with any questions about love and he's happy to assist with their understanding of human love with all of his implied vast, vast years of experience with the subject and how he'll be here to answer their questions, in the bookshop, while Aziraphale drives his car to Edinburgh.

Go back and tell Heaven I'm here, Inspector Constable, I don't give a fuck anymore. *We* don't give a fuck anymore. You go tell The Archangel Michael that I'm who they're going to get managing Angelic Embassy X aka The Bookshop until Aziraphale gets back-- yep, me, former Demon of Hell. The Boyfriend in the Dark Sunglasses. He's asked me to, which is his way of saying he wants to stop hiding and asking me not to sneak out to my car in the middle of the night which hallefuckinglujah, Inspector Constable... Go tell Their Beatitudes that we ravish each other all over the bookshop. You won't even be lying. As Maggie'll put it later in the season: I'm done being afraid all the time. I love him. We're in love. There's your hot intel.

Aziraphale:

Aziraphale: Inspector Constable, be a dear and spray me down with all 700 of our fire extinguishers, will you?

#ineffable husbands #good omens #crowley #aziraphale #aziracrow #aziraphale x crowley #crowley x aziraphale #good omens meta #good omens 2

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boygirlctommy · 1 year

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had a dream I was playing fnaf 2 and it’s so fucked up that it was all in my head bcus I NEED to know what was gonna happen at the end of that game

#my post #it wasn’t actually fnaf 2 but in my dream that’s what it was called #it was free-roaming and only actually had 3 nights #I did not finish night one #I think you play as Elizabeth? and you’re wandering around one of Williams arcades after dark #but it’s not really fully closed? the games are all still playable #and also the animatronics weren’t trying to kill you (yet. again I didn’t finish night one)#i played some of the arcade games (you had a certain amount of coins you could use to play the games) and won some. slightly bizarre prizes #from this coin slot game? I got like. four plastic pennies. and nine small triangular keys #they came with little cutscenes. DONT remember the pennies one but the key one was like. 3 kids were kicked out of their house by their dad #and had to live in small brick shacks they made themselves and later the dad went to bring one of the kids back inside but that kid had #already died from the cold so he went back inside. next day he went out to let a kid back in but theyd already died from the cold so he went #back in. the third day the last kid knocked on the door but the dad did not let them back in. the end. it was like that one bot from fnaf6 #that tells you a story. anyways I was wandering around after winning my prizes and would occasionally walk past crying child and michael #at some point in the night you start to hear screaming. you can’t pinpoint which room it’s coming from but it’s terrified and in pain #and definitely michael. the player character PANICS bcus her brother is begging for his life but she can’t tell where he is so she runs to #go get William bcus surely her father will be able to help. you have to play this dumbass mini game to get to him idec it was stupid. you #find him and he’s wearing the spring Bonnie suit(not springtrapped he’s just wearing it) and he very creepily and calmly agrees to go check #he walks into a room with several very small doorways and locked boxes bcus that’s where the noise is coming from. dont question why he #knows that :) and he locks the door behind him. locking out the pc. the screaming very abruptly stops. William comes back out in a few mins.#no sign of Michael. he doesn’t answer any of your questions and leaves you alone in the arcade more confused and scared than ever and it’s #only 4 am. what happened to Michael? the pc still has the triangular keys. she thinks she can use them to unlock something in that room. if #only she could get the main door unlocked first...#and that’s where it ended! that’s where I stopped playing the game!! THAT SUCKS WHY DID I QUIT MID-GAME?? AT LEAST CONPLETE NUGHT 1 YOU BOZO #oh well. anyways this is haunting me. what the fuck happened to Michael?#literally I woke up and the first thing in my head was What happened to Michael?#👍 epic #I also played like. fnaf 5 but fucked up. again only 3 nights. there was this digital wife who wanted to kill everyone #girlboss

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lovecolibri · 2 years

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"It's gutwrenching"

#roswell nm #roswell spoilers #roswell nm my behated #vlammy i'm so sorry #i know you just wanted to scream michael's love for alex from the rooftops but the writers did y'all so dirty #thanks for giving us The Most with the crumbs you've been allowed #this is an rnm writers hate space #specifically right now directed at DT and his 'this is for the malex fans' half-assed attempt at 'fan service'#proving once again the show either does not know or does not care what the fans actually want #and will to the literal least and pretend they have done something so gracious for the malex/alex fans #maybe if we had seen michael being upset the second alex didn't send a goodnight text #maybe if we had seen michael getting more and more frantic as the days went by #and hearing from alex was a punch in the gut of relief AND fear #then this episode might have made me feel something #but dropping this on us after refusing to let michael show any worry or concern just falls flat

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denimbex1986 · 4 months

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'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”

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