#and feel like David has done a lot

[grapecherry]

babe wake up the narratives are foiling

#drdt #drdt spoilers #danganronpa despair time #danganronpa despair time spoilers #I AM SO SO NORMAL ABOUT THE UNHEALTHY SEPARATION TERUKO DAVID AND AREI SHARE WHEN IT COMES TO BEING GOOD OR BAD PEOPLE. #THIS IDEA THAT ITS SOMETHING ENGRAINED IN YOU. THAT YOUR ETHIC AND MORALITY HAS PERMANENCE. #BECAUSE ACKNOWLEDGING THAT YOU’RE CAPABLE OF CHANGE MEANS TAKING ACCOUNTABILITY FOR WHO YOU ARE AND WHAT YOU’VE DONE. #TODD CHAVEZ VOICE. YOU ARE ALL THE THINGS THAT ARE WRONG WITH YOU. #AREI FELT LIKE WHO SHE HAD BECOME WAS PREDETERMINED BY HER CIRCUMSTANCE HENCE HER UTTER BREAKDOWN WHEN SHE THINKS ABOUT EDEN’S LIFE #SHE YEARNED FOR THE *OPTION* TO BE KIND #BUT THAT’S SOMETHING YOU HAVE TO CHOOSE OVER AND OVER #JUST AS EDEN STATED TO TERUKO. SHE *CHOOSES* TO BE KIND. #SHE’S NOT NAIVE. SHE’S KNOWS THE STAKES OF THEIR SITUATION. BUT SHE CHOOSES TO LOVE ANYWAY. #SORRY I. I DON’T KNOW WHERE I WAS GOING WITH THIS SHHDJDJDJ #JUST HAVE LOTS OF FEELINGS Y’KNOW #teruko tawaki #david chiem #cyrus.post #parallels #images

[mollyrealized]

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

[tgcg]

this is my element (+ album)

asking me to pick my fave album is like asking an orphan matron to pick her favorite baby boy

thats some weird and cruel circumstances to put upon me i feel like it changes every damn week like a rota

i mean what if my beats misbehave and i gotta put 'em in time out i cant play permanent on that theyre too cute

but yknow what i can show you one thing thats been on my mind lately

===

so when i was a kid we had this skateboard vid by "element skateboards" on DVD

they were this skateboard kit slash apparel company that was all about progressivism and shit and they did these much lauded comp tapes of dudes riding around on their boards and doing the dopest of macho tricks on the shit

flipping it turnways

putting the rock in the house like a big man

we had some of their merch actually

===

so anyways the one we had back then was This Is My Element

released 2007

mostly clips from cali i think and i mean the camerawork is fucking insane on some of those shots

this is gonna sound lame as fuck but i prob spent so many cumulative hours just peelin through the footage and ogling the shit outta it

that framing was tight

===

so you may be asking yourself or me

dave you genuine dicksucker i asked about your fav album not your favorite sordid ass display of smooth dudes hardcore riding and grinding them boards in public dude you have a problem

ok well that wasnt a question first of all so jot that down

but anyways to THAT i say

listen to the music

the whole thing has an original soundtrack of ambient beats

got some abstract hip hop jams, got some more indie stuff, lots of acoustic sampling

HELLA underground

and basically every track minus one is done by sampler beast david p. madson AKA "odd nosdam"

dude is my hero seriously

he is the master of the beat machine i shit you not hes always been kinda my idol on this stuff

aside from bro obviously

===

obviously.

===

anyways he had an E-mu SP-1200 which is a really oldschool sampler invented by dave rossum in the late 80s

revolutionary to the hip hop scene

nosdam had this mega distinct sound to his music that i always wanted to replicate on my own beats

still do

i dont know for sure if he used it on T.I.M.E. but he uses some of the same samples from "vol. 9" which was exclusively SP-1200 so im gonna get a lil j’accuzi on that

it couldve been a boss dr sampler SP-202 though idk

he had one of those

===

so aside from beating the shit out of the pause/resume button to flip my whole cranium at the cinematography or whatever i would also kinda play it on loop to listen to the soundtrack and space out at 2am

the lonely broner seemed to free his mind at night

ok shit broner is good but i didnt mean it like that

that was goofy lets just keep movin

it was the only way i had to listen to it back then but i mean the video is 50 mins long so its basically just an odd nosdam album with accompanying ambient skater sounds and random expletives and whatever

random car sequence

yknow what i dont think people respect enough?

the dude who catches all the "mad stunts yo" on camera

i swear to god at least half the time hes ALSO on a board and that shit is bananas to me

bros gotta be on some whole other level of zen to skate good AND catch all them glamor shots of his fellow skater

thats like an express ticket to the ER imo

the ambulance is already on the scene watching you like an eager crow watches a half dead dog

===

ok gonna go ahead and lay it out flat

not great on a board myself

kinda dogshit at it actually

so maybe im not exactly an arbitrator of skateboard heinousness

but i always kinda liked watching THEM do it i mean who doesnt?

whats an even crazier layer to stack on the "dave" cake is

and dirk told me this because unfortunately it kinda happened post-2009

he would do all these collabs with one of my childhood favorite underground rappers david cohn aka serengeti

surrounded by daves left and right dude even before all the time travel horseshit

thats like

serendipitous as fuck i think!

===

if sburb was just a revolving door of artists called dave that i could bump fists with

instead of other mes in various states of aliveness tending toward extremely dead

i wouldve probably given it something higher than 2 stars on my TGN review

===

so yeah you ask me my favorite album its T.I.M.E. by odd nosdam i guess

bump that shit on a walk your mind will go places unknown to man

#dave strider #homestuck #comix #this is my element #the way i drew dave posing here is rly heavily inspired by askinsufferableprick btw #welcome to strider infodump hours

[justhereforthemeta]

Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball. 

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché. 

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery. 

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967: 

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once. 

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat. 

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution. 

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!? 

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save. 

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

#so honestly #I think the biggest mark against this conclusion is that Crowley sees his mirror Maggie taking a nap at the end of S2E6 #there is a strong chance of a depression nap before any further spying gets underway #but I am counting on Muriel to be a dorky ray of sunshine and snap him out of it with Clues #good omens #good omens meta #good omens 2 #crowley in a turtleneck #demon bookseller plantdad spy

[variousqueerthings]

okay I watched good omens s2 yesterday with my partner, and I was genuinely very surprised -- I think if you've grown up through superwholock/merlin/the 100/teen wolf type shows where (with the exception periodically of doctor who) you kind of had to make up the good show that something could have been in your head, that colours a lot of your viewing, and to be honest I thought season 1 of good omens was a fine little piece, honoured the book while modernising it somewhat, it was a nice, fun, low stakes time, with a couple of things I might have wanted a tad different but nothing overall awful.

so I was seeing all this meta and gifsets and discussion, while I was waiting to give s2 a watch with my partner and thought "ah, people have made up the good show in their heads again" not that I assumed s2 was going to be a bad show, but that people were taking extra deep plunges into possibilities, the way fandom does, and that was fine. I knew there was a big ol kiss, I had a sense of some kind of argument at the end, and that it was setting up a s3

I also knew that mainstream reviews were calling it (politely) self-indulgent and dependent on whether or not you enjoy david tennant and michael sheen having a good time for just under 6 hours

all in all, expectations of a somewhat mainstream show without too much to think about, a nice, fun low stakes time, moving on...

(EDIT: AND THEN I WROTE A LOT OF WORDS SO YOU CAN IMAGINE THAT MY REACTION WAS QUITE DIFFERENT)

as it turns out it seems these things that were being written on tumblr were discussing the actual text of the show and not things you could extrapolate if you squinted and tilted your head a little to the left as I'm so used to doing, so in fact there is much to think about!

and my first thought was "this is like when you read early discworld books that ask a question like a joke, only to find that over time the answer to that question becomes very serious (and also can be funny at times of course)." how terry pratchett would pick and pick at tropes and notions and social ideas and go "oh now hold on, this seems strange..." starting way back when he thought it was odd that women warriors always seemed to be dressed in metal bikinis and then realising he hadn't done a good enough job of subverting the trope, simply by depicting it and calling it a bit silly

why do goblins always get treated as the villains? what's with this divine succession of kings business? where are the female dwarfs? who do we treat as disposable?

good omens season one went: "haha what if heaven and hell were intensely incapable, bureaucratic, corrupt, and uncaring of the work they did, and we took an angel and a demon and had them actually care? wouldn't that be... a bit silly?" (and it was)

good omens season two went: "what are the consequences for caring when the people who have power over you are incapable, bureaucratic, corrupt, and uncaring? what are the forces that supersede systems built on fear, ignorance, and violent conformity? can people change and break out of/challenge/break down these structures by caring?"

and this was set up with a neat little sleight of hand (to reference aziraphale's switch-and-bait in the episode with the nazi zombies), because the majority of season 2 does feel a bit indulgent: hey, remember those two wacky angel-and-demon characters? watch some more wacky things they did through the ages, watch them take a sojourn through 1827 Edinburgh and do a magic show during the Blitz, and... stop the death of Job's and Sitis' children (actually maybe that whole segment ought to have been what they call "A Clue")

see them try to figure out a kooky mystery, all the while setting up a cute little same-gender romance on their street. watch as everything points towards a happy ending that's all about the two of them realising what they've been to one another all these thousands and thousands (and thousands and thousands) of years- but hold on. lest we forget - and the show has made this point over and over - there are powerful people who control them, who hurt them, and who plan on hurting others, throughout the whole season, and as it turns out they know what they've been to one another for far far longer, and know how to pull their strings...

season 2 then, has to show us these things, not because they're indulgent (well, maybe occasionally, but the apology dance is still important), but because in order to make the ending a tragedy, we first need to understand, properly, the impact that they have had on each other. we need to understand that Aziraphale relied heavily on Crowley to be his moral compass and leaned on black-and-white thinking in order to deal with things, because if it's all grey then where does he fit and what has it all meant and heaven has to be the good guys, even as Job's and Sitis' children are ordered to be killed, it's all he ever had...

and Crowley was always an anchor, needed to trust that Aziraphale was different, needed to bend to every whim that Aziraphale has, because otherwise what's his worth in all this? After having been already deemed worthless by the heaven that Aziraphale needs to believe in?

and that, simplistically described, is the narrative that we're seeing in s2, and alongside that the ways that the changes they have upon each other are noticed, and monitored, and placed under suspicion, and finally... broken up, not by the clumsy, brute force that's been attempted over and over again, but by a promise to return into a violent, controlling system and to "make it better from within"

and all of this is wrapped up in two queer relationships + a third queered-within-the-text relationship that creates the inverse of how it ends for Aziraphale and Crowley (so far). queer love -- whatever shape that has -- is explicitly the shape of non-conformity within this narrative, including within the symbolism of angel-and-demon love of Gabriel and Beelzebub, which in the context of the systems created is considered queer (and one can argue till the cats come home about casting cis actors, about angel-and-demon notions of gender/romance/sexuality, but the "queerness" comes from building something non-conforming to the systems they exist in), and enforced by the explicitly our-world-definition-of queer romance that Nina and Maggie have going on (which, while less high stakes, still contains the background controlling relationship that Nina initially is in)

all of this to say, that I disagree that s2 meanders, or that plotlines happen for the sake of showcasing Aziraphale and Crowley without purpose, or that characters get sidelined (I'd say it sets up a whole host of interesting characters to further get into actually), or that it's strictly mainstream easy-access narrative that's just an excuse for the main creators and actors to get back together.

the love is the point, and this show takes its time to show the love (and the unequal boundary-setting, and the fact that one of them has an undiscussed tragic backstory, and the desperation to belong again, and the fear instilled by oppressive systems, and and and), so that we understand why those last 15 minutes happen the way that they do

it's sleight of hand, and like all good magic, you don't notice until it's happened

#good omens #go2 #good omens season 2 #neil gaiman #david tennant #michael sheen

[piratecaptainscaptainpirates]

Today I rewatched all of season 2 with a friend who hadn't had the chance to see it, and it's really true that if the pacing seemed off to you as it aired, try watching it altogether. It flows so well when you're not spending a week in between episodes hyping up theories and over-analyzing throwaway lines.

The rewatch hammered home how lucky I feel to have this show! It's so good, friends. I'm so incredibly grateful we got this show.

Some of the little things that I didn't appreciate on first watch that I just adored on a rewatch:

How well Archie and Zheng Yi Sao are immediately integrated into our cast. They had limited time and their writing is really cleverly done to endear us to them immediately.

Every Buttons and Auntie interaction, absolute gold

Surprisingly (for me), Ed and Izzy's interactions in the first two eps. It's just so terminally unhinged. The way Izzy says he "has love" for Ed like he's ashamed of it, like how you have a sickness. "Do you think I wouldn't know the smell of my own rotting former first mate?" The way Ed handed Izzy a gun to try to get him to shoot Ed, but Izzy tried to shoot himself instead and was symbolically reborn. It's good shit.

The Gravy Basket scenes really rewards a rewatch. Try to pick up on clues something's up before Ed realizes, it's great fun.

The way Stede's devotion to Ed is immediately palpable.

Ed and Stede are so soft and cute for each other dear lord. just gets better and better.

The musical choices are top notch, especially in those first three episodes. The sound design in general is exceptional.

The way this show is shot, dear lord. There is so much care in every shot, it doesn't look like a basic TV show.

Every actor in this show is giving it their all. Rhys and Taika are phenomenal, of course, but Con is amazing, Matt Maher makes me love Black Pete more with every rewatch, David Fane is perfect, and Samba Schutte is so incredible. Roach doesn't have a lot this season but Samba gives every line 110%.

Such! A! Good! Show!! If you didn't like the pacing on first watch, take my word for it, try a rewatch.

#ofmd #our flag means death

[rebeccasteventaylor]

So why does Donna matter so much to me? To so many of us?

All the companions - old and new - had been young and they kind of knew they were brilliant. They had self-confidence and they knew their place was by the Doctor.

Donna was a middle aged woman who thought she was worthless. She spent her life thinking that her life meant nothing, she meant nothing.

Doctor Who has been running for 60 years. There are a lot of middle-aged women in this fandom who felt the same way. But no-one saw us in the fandom because middle-aged women are often - invisible.

But here’s Donna, just like us. And she does take the chance to travel with the Doctor and she is brilliant. She grows and learns and she becomes his best friend (he hasn’t called anyone that since Sarah Jane). She has a wonderful life and she finally knows she is wonderful.

And then it all goes. It’s not even that she loses the Doctor. She loses everything. She misses everything. She has no idea that she matters. She feels worthless again.

It broke us. And I remember sitting on a train on my way to see David Tennant in Hamlet and hearing a lot of women talking about Donna’s end and how it broke them. They had finally felt that with Donna, they had a place in the Doctor’s world too, and now they were told - they don’t.

But now - you could see Donna, once she had her memories back, once she knew what she had done, suddenly know once again that she is brilliant. That she is the Doctor’s best friend, that he loves her, that she matters. It all came back and it got given back to us too.

That’s why Donna matters. For all those middle-aged fans out there who think they don’t matter, no-one like the Doctor could care about them, they have no place by the Doctor’s side. Once again - we’re being shown we are brilliant and matter and are loved.

#doctor who #donna noble #doctor donna #Donna remembering matters so much

[breeyn]

An essay rebutting the “bad writing” claims of s2 ofmd. Spoilers herein.

I’ll preface this with saying you’re obviously allowed to like and dislike whatever you want. I am in no way opposing that. And your reasons are your reasons. Have at. (Also - this is a collection of observations from the past few days, I’m not calling anyone out)

I AM going to rebut the idea that season two was poorly written and lost the spirit of what the show is about.

My favourite movie of all time is Empire Strikes Back. It’s been my favourite movie since I was four. I’m pretty sure it’s a fave of David Jenkins, too. He and Taika have made absolutely no attempt to hide their love of all things 80’s - Prince, the Princess Bride, Kate Bush, Star Wars, etc.

I have ancient video tapes (that I can’t play because who has a vcr) where Lucas is interviewed by Leonard Maltin? Malkin? I dunno. Who cares. Maltin asks him about the Star Wars (original trilogy) story arc. Lucas says “in act I, you introduce all the characters. In act II, you put them in a situation they can’t get out of, and in act III, they get out of it.”

That’s how it works. This is how stories and literary structures work.

Of course you’re not satisfied with season two. You’re not supposed to be.

The arguments I have read on why s2 loses the spirit of s1 is because no one heals. No one learns anything. No one moves forward properly. The person who makes the biggest move towards healing dies. The two main characters end the show doing the exact fucking thing they had promised themselves and each other they wouldn’t do. Our romantic lead still doesn’t understand his value or make any headway on addressing his tragic flaw. It makes no goddamn sense.

My gremlins in weird: it’s not supposed to. In Act 2, EVERYONE LOSES. This is how it goes.

I’ve read a lot of people saying “but this felt like a series finale, not a season finale.” We all know that outside politics play a part here, the strikes make everything precarious. I remember the last writers strike. It destroyed tv for fifteen years. Anyone remember Pushing Daisies? Some of y’all have never had your fave show cancelled with zero resolution for the characters and it shows.

Daddy J did us a kindness. He softened the blow of a tough season. After the brutal cliffhanger of s1, he gave us a little softness and hope. All those things you’re mad aren’t resolved? It’s because THE STORY ISN’T OVER.

No one on earth thinks “stuff all your trauma into a box and ignore it” is good advice. A way to actually live. This show did not have enough screen time to throw out dialogue for no reason. There was foreshadowing in s1 for s2, and there is foreshadowing for s3 in s2. This is a well-crafted story by very smart people who care very much for these characters. There is zero chance Frenchie explained the box in his head for no reason. The reason people have not resolved their trauma and growth is because they haven’t done it *yet*.

And friends - it’s not thinly veiled. They straight up fucking tell us what they’re doing.

Luke Skywalker spends the first two movies fucking up and desperately trying to prove himself and just generally being an idiot. Sound familiar? He ignores the lessons he is supposed to be learning to go off and do what he feels like doing, and loses fucking badly. At the end of Empire, Han is gone, Luke and Leia wave goodbye to the Falcon that has Lando and Chewy - the rest of their crew - aboard. Everyone has lost everything they care about. Vader is undefeated. Yoda is pissed. Nothing is resolved.

You see where I’m going?

If you think I’m stretching this too far, welp, when Ed tells Stede he loves him - the climax of the finale - Stede quotes Han fucking Solo. Like - *it’s right there*. The story structure. The reason everything is unresolved.

So yeah. They wave goodbye to their ship because they have wounds to heal (like Luke’s hand). The people aboard the ship have things to find. Ed and Stede have *not* learned their lesson about whims and how not to be like Anne and Mary. It’s not stupid that they’re doing the same thing, and it’s not pointless that we were shown Anne and Mary. It’s all relevant.

The resolution comes in Act 3. None of these people are done. The story is far, far from over. And just in case the studios want to be dicks about it, David Jenkins was lovely enough to not repeat my enduring heartbreak over Pushing Daisies.

Thank you, @davidjenks 🖤

#ofmd #our flag means death #ofmd s2 #ofmd s2 spoilers #ofmd spoilers

[drchucktingle]

It’s Carly Tingle’s big day, the release of her first traditionally published horror novel, Camp Damascus. Unfortunately, Carly’s having trouble enjoying this moment as fear and chaos begin to swirl around her. She wants the book to do well, of course, but it slowly becomes apparent there’s more to Carly’s ambition than meets the eye.

Things get clearer when Carly revisits an old erotica short she’d written, titled Eaten Right By The Physical Manifestation Of My Pride And Excitement That The Lead Character Of My First Traditionally Published Horror Novel Is On The Autism Spectrum Just Like Me. This sets off a chain of fourth-wall breaking events that will send Carly on an adventure unlike any other.

Now at the book shop, Carly will come face-to-face with the beautiful physical manifestation of her pride and excitement as an autistic artist, culminating in an erotic lesbian encounter that could inspire generations to come.

This erotic tale is 4,300 words of sizzling human on sentient physically manifested excitement in the form of a punctuation mark action and lesbian autistic pride love.

----

please enjoy EATEN RIGHT BY THE PHYSICAL MANIFESTATION OF MY PRIDE AND EXCITEMENT THAT THE LEAD CHARACTER OF MY FIRST TRADITIONALLY PUBLISHED HORROR NOVEL IS ON THE AUTISM SPECTRUM JUST LIKE ME out now for free but asking for donation to AUTISTIC SELF ADVOCACY NETWORK

MORE ABOUT THIS TINGLER:

hey there buckaroos i would like to use today to talk on something that is very important to me. i have talked a lot about my journey as a bud on the autism spectrum, and about how I LOVE BEING AUTISTIC.

my story on the spectrum is not a struggle. my way was diagnosed in early twenties, but because of way of masking VERY FEW BUCKAROOS WOULD EVEN NOTICE. it has given me ability to hyper focus and get large amounts of writing done, to find creative ideas neurotypical buds might miss, and to have a unique perspective on life on this timeline.

HOWEVER as man name of chuck my pride in this way used to make me uncomfortable, thinkin i should not share my story. there are many buds on this spectrum who have a MUCH harder time than chuck, and i want to respect the VERY IMPORTANT AND VERY REAL struggles of my fellow autistic buckaroos. for long time i did not feel like it was my place to share and say ‘personally, i wouldnt change my autistic trot for anything. i think being autistic is very cool’

but as tingleverse got more fans and buckaroos started listening to my words more i started thinking: THIS is an opportunity to prove love. part of the reason i am PROUD of my spectrum way is because FIRST INTERACTION with idea of this trot (was called aspergers way back then) was to realize that ALL MY HEROS were on this spectrum: david byrne of band TALKING HEADS being number one.

my FIRST INTERACTION with this idea was not ‘whoa this is tragic’ it was ‘whoa the coolest buckaroo on the PLANET is the same as me’

POINT IS i have been on this timeline a while now and now i am in this position myself. i can be the one buckaroos see when they learn this about themselves and think: WOW LOOK AT THIS WILD ARTIST I ADMIRE BREAKING THE NORMS AND CHARTING A NEW TROT THROUGH THIS TIMELINE WE ARE BOTH AUTISTIC THIS IS THE HECKIN COOLEST

most of the characters i write are probably a little on the spectrum because they are comin from inside chucks head. i look back and notice this and laugh, but other than a single tingler i rare actually OUTRIGHT SAY this character is autistic. i decided that FIRST BIG HORROR NOVEL WITH A TRADITIONAL PUBLISHER was a good time to change this. while i write erotica most of the time which means NO YOUNG BUCKAROOS ALLOWED, horror is a little different. buckaroos young and old can read CAMP DAMASCUS and think ‘i see myself in this autistic hero and I FEEL COOL’

EVEN WRITING THIS NOW makes me get teary eyed and emotional, because these feelings of belonging and positive representation were SO IMPORTANT to me. i would not be trotting here without these autistic heroes, and now i have been given the chance to create one of my own with CAMP DAMASCUS and WITH MYSELF just by being chuck and talking openly about my joyful, exciting, artistic trot on the spectrum.

WITH ALL OF THIS IN MIND i am releasing a brand new tingler called EATEN RIGHT BY THE PHYSICAL MANIFESTATION OF MY PRIDE AND EXCITEMENT THAT THE LEAD CHARACTER OF MY FIRST TRADITIONALLY PUBLISHED HORROR NOVEL IS ON THE AUTISM SPECTRUM JUST LIKE ME for free. HOWEVER i am requesting that if you choose to read you send your three dollars (or whatever donation you would like) to the AUTISTIC SELF ADVOCACY NETWORK. this way 100 percent of all profits will go to them. (WARNING this is actual erotica so no young buckaroos allowed for this one).

all ages (who are old enough to read horror) can preorder CAMP DAMASCUS at any bookstore. i also have a tingler name of NOT POUNDED BY THE PHYSICAL MANIFESTATION OF SOMEONE ELSE'S DOUBT IN MY PLACE ON THE AUTISM SPECTRUM BECAUSE DENYING SOMEONE'S PERSONAL JOURNEY AND IDENTITY LIKE THAT IS INCREDIBLY RUDE SO NO THANKS that is pound free so all ages can read so check that out if you would like.

thank you for blessing me with a space to explore these ideas. i am so thankful to be here with you and you have treated me so well. i am eternally grateful for our tort together and look forward to the future we craft on this timeline.

LOVE IS REAL - chuck

#tingleverse #autism #actually autistic #love is real #chuck tingle #camp damascus #horror #lesbian #queer

[dizzy-n-busy]

[can (and most likely will) contain SOME poly hcs!]

« Shaw Pack headcanons »

° • ° • ↓ • ° • °

Younger David and Darlin' had a 'platonic confession' - as Milo and Asher put it - with each other (they confessed that they were besties for the first time)

Younger Darlin' was hella touch starved and tried avoiding it at all costs bc it made them feel weird; Darlin' now is constantly being touched and completely immune to it

Angel and Asher are VERY touchy feely, love language of physical touch havin asses

David and Baaabe are the cooks of the pack - Baaabe also makes snacks for pack meetings bc David's too preoccupied (Milo and Sam are good sous-chefs !!)

Sweetheart loves buying things and going to expensive ass restaurants with the pack (they're restricted for special occasions bc the pack doesn't want them going broke)

Angel and Baaabe met each other in college but never found out each other's names till later

Everyone is immensely protective over Sam (esp during pack meetings)

Sam and Darlin' stay getting cuddled and clinged onto bc they think that they're outcasts

Milo learned how to stitch at a young age so he could personally tailor some of his clothes shorter; he was embarrassed to get them done professionally

Angel likes wearing short clothes/bottoms so when their shoes untie, the pack's literally dolphin diving tying it for them so they don't have to bend down

David gets called 'mama duck' and he literally hates it

Someone always records whenever they all hangout for memories (I'd say Baaabe, David or Sweetheart)

Darlin' and Sweetheart are menaces when it comes to pissy chrissy, they love intimidating him (Darlin' looms over him and Sweetheart jumpscares him with cloaking)

Milo has a daily skin care/shower routine which is oddly complex

Angel spams the gc with David smiling when they catch him in a photo or to lighten the mood - everyone loves it

Angel got Asher hooked on cheek kisses (or vice versa)

Movie nights or sleepovers/camping go crazy

The pack has, at some point in time, all fallen asleep on or next to Sam (he's too comforting for his own good)

It's always Milo vs Asher till you bring Darlin' into the picture (2 against 1 and they still lose lmao)

Baaabe literally obliterates everyone at arcade games

David has his last name tattooed on the back of his neck; he says how they'll be his demise /j

Sweetheart stress cleans (twinninem)

Baaabe gives fantastic pep talks

Darlin' takes Angel out whenever they struggle with sleeping and don't wanna bother David (Asher sometimes goes too)

Sweetheart is the go to for missing stuff, they always manage to find it somehow

Sam lets the pack play with his hair

Angel got David to match fits ONCE and they were literally vibrating in excitement

The amount of 'embarrassing' old pack photos and videos that David hides is FEDERAL

Darlin' gives really nice hugs

The werewolves all shift and form a cuddle party, it's very cute (many photos for evidence)

Angel likes riling Darlin' up when their shifted and gets chased like a bat outta hell - they have literally mounted the rest of the pack tryna get away

Sweetheart always gives the pack's shifted forms head kisses before and after rubbing their heads

David won't admit it but he loves hanging out with Sam on the sidelines while everyone else is playing around (shifted)

Darlin' got assorted matching piercing with the listener mates (angel bites for Angel, gages for Baaabe and either a tongue piercing or snake bites for Sweetheart)

Milo gets picked up a lot for some reason - it only slightly pisses him off

They were all matching for the Summit, I might draw it to show what I mean

Sweetheart and Milo LOVE making and holding eye contact, they like how it flusters ppl (they always win staring contests/j)

Angel's super into interior designing, they interpret it thru minecraft bc I said so

Group therapy goes crazy/lh

I have so many thoughts abt them, I might have ta make a pt2 💪💪

• ° • ° ↑ ° • ° •

#this is to save me from the literal mindfuck the summit was #redacted audio #redacted david #redacted angel #redacted darlin #redacted sam #redacted asher #redacted baabe #redacted milo #redacted sweetheart #redacted shaw pack

[selkie-siren]

⚠️Ofmd S2 spoilers ahead⚠️

I’m just gonna say it:

Season 2 was painfully rushed. I didn’t wanna admit that fault, but it REALLY damaged the quality of the show. Part of what made S1 so great was watching the slow and steady character development and story arcs. We developed attachments to the characters because we saw them go through everything leading up to the end.

This entire season has had abrupt changes in character development (especially with Izzy. I love that they made him more human, but he went from masochistically devoted to Edward to terrified of Edward all within the span of a time jump we didn’t even see.)

Ed and Stede’s relationship shifts way too abruptly. And I know them taking it fast is part of their arc, but it still felt like they were just trying to move from arc to arc within the span of one episode each.

I also hate how none of the sideplots really tie into the story on a deeper level. (They have amazing parallels to S1, but aren’t great plot-wise.) Not to mention they almost completely abandoning the relationship they built between Olu and Jim. (I love the polyamory aspect, don’t get me wrong. And I love that they don’t blatantly explain the polyamory / tokenize it. But, the way Jim was willing to just give away Olu to Zheng in episode seven, even if they and Archie couldn’t go with him, made me upset. Not to mention that at times, it feels more like they’re trying to write off Jim and Olu as fwb, but that may just be me. And the two of them didn’t get a lot of screen time in general compared to season 1.)

The parallels to season 1 and overall symbolism were amazing, and I do still like this season overall. But it really is heartbreaking how Max sacrificed the show’s quality all for the sake of profit. I know David could have done much better with more resources.

The main reason this upsets me so much is because not only does it hurt on a personal level (damaging the quality of my comfort media), but it’s also the perfect representation of how streaming is KILLING the quality of TV. S1 was a masterpiece. The whole show is a masterpiece. But TV productions can only work with so much. And streaming services aren’t willing to accommodate to the demands necessary to make real art.

Thank you for coming to my TED talk. Be gay, do piracy 🏴‍☠️🍊🧜‍♂️(for legal reasons, don’t actually do piracy)

#ofmd #our flag means death #stede bonnet #blackbeard #lucius spriggs #jim jimenez #blackbonnet #gentlebeard #the gentleman pirate #the kraken #ofmd s2 #ofmd spoilers #ofmd season 2 #ofmd stede #ofmd 2 #ofmd izzy #blackbeard ofmd #ofmd jim #ofmd lucius #black pete #izzy hands #zheng yi sao #pirate queen #lucius ofmd #taika waititi #rhys darby #con o'neill #vico ortiz #david jenkins #our flag means gay

[captainsparklefingers]

One of the things I'm taking away from the second go round of Dracula Daily (and particularly from David Ault's excellent performance in Re: Dracula) is how much I like Lord Arthur Godalming.

Like. On the surface and the first time round he stands out the least of Lucy's suitors, and given how much time we hear from Jack, he can come off the most developed. Quincy, of course, gives us a heck of a lot of personality with relatively little (again, compared to how much we get from Jack). Arthur, though, doesn't have the same volume of words to develop, nor the instantly clear personality. He's just Lucy's fiancee, Jack and Quincy's friend, the heroes of light's wealthy benefactor.

But God, this poor man. He's suffered several immense losses in a very short period, been forced to see the woman he loved as a monster, and then had to put her down so she could rest in peace. Beyond the emotional burdens of such losses, he has to deal with the legal matters and the settling of affairs for three different people, probably doing whatever one needs to do to take his father's place in the House of Lords (something I know absolutely nothing about but I assume there's things to do there), AND the earth shattering revelation the supernatural is real, monsters do exist, and the one who killed Lucy is still out there.

And all of that while having to abide by the Victorian standards of manhood. Stalwart, strong, showing no emotions that could make him seem weak.

I think the scene in September 30th, where Mina comforts him and finally he has the chance to let go of all of these burdens he's felt he must carry alone, all of the grief and sorrow he's been forced to carry, he can for at least a moment put aside the mask of manliness society insist he wear and just let himself be a man who has lost his father and his fiancee within days of each other, who is dealing with situations beyond belief.

Obviously we've seen him cry and grieve before but it always felt like he was stifling it to a degree because, well. He only has his male friends to lean on now and the stupid proprieties of society mean he can only lean so much. But now he's had a chance to finally let go, made a connection with Lucy's dearest friend and a new sister of choice. He has his friends, he's finally been allowed to mourn in the way he's truly feeling...and now he's ready to help in whatever way possible to avenge Lucy.

Arthur comes off to me as a very strong character, a man driven by great love, who's emotions, as constrained as they may be, are one of his greatest strengths (and, of course, every good monster hunting group needs a financial benefactor). He's not a flat character at all, he's not forgettable character. Lucy loved him for a reason and, I think, in the moment his grief finally breaks, we get a glimpse at that.

I think that one of the good things of Dracula Daily has been making people realize how good of a character Jonathan Harker is, how pop culture has done damage to the true character of Lucy and Mina…I think we should add that its done a good job of making one care for a character as Arthur, who at first glance seems flat and boring.

Or at least it's made me appreciate him more. And I still want to know how he and Jack and Quincy became friends and what sort of shenanigans they got up to before the events of the book.

#dracula #dracula daily #dracula daily 2: vampire boogaloo #dracula spoilers #dracula daily spoilers #arthur godalming #re: dracula #seriously David Ault has done such a good job with him

[smellrain]

𝐧𝐡𝟏𝟑 - 𝐭𝐡𝐞 𝐢𝐜𝐞 𝐢𝐬 𝐬𝐢𝐥𝐞𝐧𝐭

in which: nico and you had met years ago in a cold rink in canada but then lost touch for several reasons. It's hard, growing and correcting mistakes of your past but you try anyway.

tags: written, angst, hopeful ending, mentions of: depression, injuries, hospitals, doctors, etc. (masterlist)

notes: [5.1k] I have no idea what this is? I woke up, wrote the entire thing and passed out again for 2 hours. Tried polishing it through editing? Yeah. It turned out a lot different than the rest of my stuff so far, so it's scary posting this. Come & tell me if you liked it.

The ice was as harsh as it was unforgiving. 

The cold air of the rink has seeped into your bones years ago and the reddend tips of your fingers went numb a while ago, but you were used to it by now. Nothing really mattered when you got like this, too caught up in your head for anyone to reach. 

Not even yourself. 

You had been home and then suddenly not, your body already knowing what you needed before your mind caught up to it. 

The rink wasn’t open, not yet, but you had gotten a key years ago. The owner, David, had been the only one that had looked at you the same back then. There had been a knowing sort of look in his eyes when he had seen you waiting for him at the front door stepps, eyes red. 

He had given you a key, because he had seen you for who you were: a girl whose entire life had collapsed around her. 

Bronze at fifteen, silver at sixteen, gold forever out of reach. 

You could still remember the red pen tucked into your doctor’s coat. The ‘my condolences, but’, the white light, the letter in your hand, the sinking realisation that this was it. 

That you were going to be one of the several girls that had pushed their body too far.

The same way you had done everything back then you had followed the instructions of your therapist to the letter. Stretching, compressions, different exercises. Still, there was no full recovery, no chance of ever skating professionally again. 

That might be the worst part, still being able to skate but knowing that you will never be able to feel it anymore. That you were cursed to be in this limbo, never letting go of it but never being able to live for it anymore. 

The harsh sound of your blade cutting over the fresh ice was as pleasant as it was torture. You wanted more, but you had to settle for this. You had to learn that this was all you were ever going to get. 

These select few hours in the early morning, just before your classes started, before you had to start living your life. 

You could feel yourself drawing harsh breaths, but it didn’t matter. You had pushed through worse, hunger, hurt and feelings just to stand here for a bit longer. The ringing in your ear accumulated when you thought about all that you had lost, that you could never regain.

Suddenly the heavy door of the entrance fell closed. You slowed down, curious who it might be. The clock in the corner of your vision reflected a red 05:57 back at you. It was too early for it to be anyone aside from David or another person with a key, someone like you.

It was a guy, a bag in his hand and another slung over his shoulder. 

You would recognize the equipment anywhere, familiar with it in a distant way. It must be a hockey player that David had picked out out of the hundreds that frequented this place. 

For some reason you already didn’t like him. Maybe because unlike you, he had the chance of actually archiving his dreams. Bitterness was an annoying but frecent emotion that stained the back of your mouth. 

You wanted. You wanted more than this. You wanted the early morning practices, the ones after school, the rigidous schedule, the heavy monitoring. What were you without all that?

The static in your mind had been interrupted by his arrival but you hardly noticed, more focused on the way he walked down the stairs, casually like he had done so hundreds of times already.

It was almost six, which meant it was time to get off the ice anyways, so you circled a few laps, rotating your wrists and shoulders to feel if anything was off, and then made your way towards the outside of the rink. 

“You look pretty,” said the boy from where he was tying his shoelaces up on the benches. “Out on the ice, I mean.”

Something in you hurt at that, as if your heart started pulling at its own strings. It’s been a while since anyone has watched you skate,, since you let someone else watch you. There was a sharp kind of anger rising up in you that it had been him watching you which dissipated as soon as you looked back at him.

It wasn’t his fault. There really was something wrong with you.

You knew your parents didn’t approve of you being here, but they couldn’t look at you anymore when you skated, disappointed that this was how it had ended. Disappointed in you.

“Thanks,” you said, your voice completely scraped raw. You hoped he didn’t notice it. 

“I’m Nico,” he said, approaching you. He held out his hand. He wasn’t wearing gloves yet but his dark shirt had thumbholes that his thumb peeked through which was weirdly endearing on him. 

You looked back up to his face. There was a tired but polite smile plastered on it but you didn’t have the energy to give him one. Instead you simply told him your name and took his hand. Even through his layer of fabric it was warm beneath your icy fingers.

He didn’t flinch at the cold of your hand and instead started genuinely smiling which took you by surprise. People didn’t react to meeting you like this, not anymore. 

Then, without saying anything else, he took off his guards and stepped on the ice, skating around to warm up. You watched him for a bit while scraping off the excess ice and putting your skates away. 

His skating was differentthan yours; not as delicate. The beauty of it had been hammered into you from an early age on which didn’t seem to be the case form him. It was weird, not being on the ice, being the one to watch instead. 

You changed back into your shoes and walked up the steps. 

From the top, which wasn’t all that high because this rink wasn’t that big, he seemed small. You wondered if you looked like that too, if anyone had thought that when you fell down, when they had seen you sprawled on the ice at fifteen, not being able to get up again. 

A sick shudder passed through you. You wondered if you had ever gotten up from that ice.

Then you turned around, your back to him and left without saying goodbye. 

~*~

The next time you saw him again, was two days later, just after six. 

You knew you were going to be late for class but didn’t really care. Today you weren’t as cooped up in your own head, but it was still hard to let go of these stolen few hours of freedom and face reality. 

“Hey,” Nico said, “it’s you again.”

“Hello,” you said in return. He stepped on the ice and you fought off the urge to leave immediately. That would be impolite, a voice reminded you in your head, even if you didn’t want him to be here right now.

“Are you here every morning?” he asked you, falling into step beside you and therefore joining you on your cooldown laps. 

Your eyebrows furrowed in annoyance. Couldn’t he just do his own thing? Did he have to come talk to you? “Yes.” 

"Dedicated. I only come every second day,” he said as if it mattered to you. You might have to leave early every second day now to avoid talking to him, which made your scowl even worse. 

“Okay.” You said instead. 

He hummed in reason but dropped the conversation after. When you took a look at him from the corner of your eye he didn’t seem deterred at your attitude, seemingly just satisfied that he got a response.

After another lap in, you hated to admit it but companionable silence, you left, without saying anything but this time he waved back at you from below. You didn’t return his gesture. 

~*~

Despite your early judgement, the two of you formed some kind of routine over the next few weeks. You came early, and sometimes you left a protein bar for him in the stands and sometimes he brought  you a hot tea for when you got off the ice. 

Still, always without fail, he joined you for a few laps. He talked about his life and sometimes asked you a few questions. Sometimes you answered him, other times you didn’t. He never pressed for answers. 

Nico told you that he was from Switzerland, which explained the heavy accent. He just joined Halifax, and he came early to work on his technique, preferring to do so in silence without his teammates chirping at him. You, in turn, told him that you had skated, professionally, before your injury. He didn’t ask for details about either of these things and you didn’t share of your own accord. 

Slowly, so slowly that you didn’t even notice, you realised that he had become your friend. 

It was strange. You hadn’t made friends in a long time. Before, you had had school friends, but because you never hung out outside of it, always training, it never deepend. 

A weird sort warmth seeped in under your skin at the thought of the two of you being friends like a steady fire that kept you warm at night.

The friends you had made while skating splintered along with your knee. 

It was hard, you knew that, to see their worst fear reflected back at them, but it was still hard for you to reach out, so you simply stopped talking to each other. 

On your bad days you thought that it was all their fault, on your good you knew that it was a mutual mistake. 

The thing about Nico was that he was hard to pin down. He was hardworking, thrived under pressure and loved hockey. He was also afraid of falling and failing, he loved sitting under the sun in the summers, feeling his skin heat up and his favorite colour was green, but he admitted that it changed every few weeks. 

You knew that this friendship wouldn’t last, not really. Neither of you had any way of reaching out to the other, and neither expressed the desire to do so but it was still nice, this tentative kinship.

~*~

“Have you ever played hockey?” he asked you, once. 

It must have been a Saturday or Sunday because you were in no hurry to get off the ice, instead basking in his company. 

“No,” you answered, simply.

He grinned, “you are missing out.”

“Really now?” you asked, teasingly, when you turned around to skate with your front to him.

“Really. I wanna teach you,” he said, leaving the choice up to you without outright asking. If you wanted to you could just brush it off and the conversation would continue. 

Instead you said, “yeah, sure, why not.”

His smile was blinding, the adoration for his sport bleeding from every inch of his skin. It was a good look on him, happiness. Distantly you wondered if anyone had ever thought that about you.

It was different, skating with a stick in your hands but it was fun. He taught you how to shoot and aim at a certain spot which you weren’t half bad at if you stood still.

Hours later when the two of you stepped off the ice your tea was cold but you hardly noticed it.

~*~

Another day you asked him what he was reaching for. 

“Olympics,” he had answered immediately but after a beat of silence he looked up as if the lights in the ceiling were stars he could wish upon. “I think I want someone to look at me and think ‘I want to do that. I want to start playing hockey.’”

You looked at him and the only thought that crossed your mind was that he was the reason you could step off the ice again, that you knew you would always be able to come back, just one more time. 

“I like that,” you said because it was true. 

He tilted his head back to you, and the way his eyes glimmered with a rare vulnerability made your breath catch. Or maybe that was just the effect he had on you, standing still, alive and just in reach.

Oh. 

That was that feeling in your chest. 

~*~

Yet another day he joined you on the ice and you immediately kicked him off again. 

“What did I say about injuries?” you asked, frustrated in a way only he could make you. 

“That they were not to be ignored,” he parroted back, his gaze between his feet as if staring at his ankle would magically heal it. 

“Exactly,” you said. Then, gentler than before, “you need to give yourself time to heal, otherwise you will never get better.”

He looked back up to where you were hovering above him. “Okay.”

You didn’t want him to have the last word. “Okay,” you said firmly and sat down next to him. 

The two migrated up to the changing rooms  where he sat on a bench with his ankle elevated while you worked through your stretches, your knewww aching in phantom pain.

~*~

Today your mind was quiet.

It was your last time and you had wanted to take it all in again, one last time. You were moving, your father had gotten a new job somewhere in New Jersey. You knew it was good, a new start away from everything, a chance to start over. 

But still, you were going to miss this. The rink, the quiet, the place you had grown up in. The place that was your prison as much as it was your salvation. 

As you looked up towards the ceiling, the lights shining down on you, the dark gary that seemed black in contrast, you thought you should cry. This was the perfect moment to, and you hadn’t yet. 

Then, the door opened. 

You were surprised because he wasn’t supposed to be here today. Nico had been here yesterday and the two of you had argued about your favorite brand of cereal, and you selfishly had wanted to leave it at that. 

To leave your friendship without having to say goodbye, without having to ever really let go of him. 

“Nico,” you breathed, before you could stop yourself. 

“Hey you,” he said, as he came up to you. You didn’t even realise that you had stopped moving. 

“It’s late,” he stated. You looked up to the clock and sure enough, it was almost twenty past. 

“Ah,” you said, uncaring. It’s not like you had school today. You wondered when he went to school, if his just started later than yours had. In all your talks you had never actually talked about it. 

And you never were going to anymore, you had to remind yourself. Suddenly it was a lot harder to breathe through the ache in your chest. 

“Are you okay?” he asked, and you knew he meant it, “you look, I don’t know, sad?”

“I’m moving,” before he could ask anything more, “like tomorrow. This is the last time I’m going to see you in a while.”

“Oh.” The expression on his face was hurt, because he must have realised that you had intended to leave without saying anything. 

“I’m sorry,” you said. “for everything.” You weren’t really sure for what, but it seemed like the right thing to say. For your intentions, the way you acted, maybe.

“It’s okay,” he said, but it wasn’t, not really. You knew that and he knew that you knew.

“I’m moving to New Jersey.”

He was quiet for a bit.”America,” he started. Then, “do you want to exchange numbers?”

You ignored the sting behind your eyes. “I’m probably going to have to get a new simcard, but you can give me yours.”

The two of you skated back to the door, from where you had stood still in the middle of the open space. He got a piece of paper and a pen from his bag and then somewhat messily tore off the corner of a worksheet and scribbled down his number in blue ink and signed it with his name.

He looked up at you but neither of you said anything for a while. What was there to say, anymore? 

“Don’t forget about me,” he ended up telling you and you reached out to hug him. He was warm under your hands, steady and you were going to miss this, him.

“Don’t forget me either,” you murmured into the crook of his neck. 

Still, in the back of your mind, you knew that you were never going to use his number. You were going to cut off your old life before it could follow you to your new one. But for once you had told him the truth, you weren’t going to forget about him, probably ever. 

And that was that. You said goodbye, waved and you left him there. He returned the gesture, face unreadable and you were sad that the last time he looked at you he wasn’t smiling.

From the top you looked down at him one last time. He seemed bigger now, compared to that first time you had looked down at him, still filled with bitterness.

Maybe that was just your imagination, or maybe it was his confidence after playing with his current team, after seeing his results pay off. 

You turned and let the door fall closed behind you. 

Then, and only then tears started to well up in your eyes. You ignored them and moved on. Always looking ahead, never back. 

Still, you kept the number tucked away safely hidden in a small corner of your wallet. A piece of him that you would always carry with you. 

~*~

You made new friends, graduated and decided to attend college. Got diagnosed with chronic depression and mild anxiety, got a boyfriend and broke it off again after three months, cried, laughed and finally lived. 

But there was part of you hidden in the corner of your wallet, too.

~*~

If you were being honest, Nico didn’t really cross your mind when your friend asked you to go to a hockey game with you. 

In a way he did, because he had been one of your few friends that played hockey, but it was more of an oh yeah, the sport Nico loved and not oh yeah I’m going to a hockey game and I wonder if Nico is still playing, I wonder if he made it to the big leagues. 

Okay, maybe that was a bit of a lie, but still. You hadn’t expected this. 

The two of you went to the Prudential Center and you were excited despite your earlier apprehension. Your phone with the blocked tags of icehockey and nhl seemed to burn a hole in your pants but it’s not like anyone would know. 

Your friend had told you a bit about the team, but if you were being honest, you could not remember any of their names, much less which position and line they played. 

When the players got announced, the home team first, you froze. Suddenly the noise of the cheers around you were completely quiet until they flooded back to you, a harsh reminder of reality.

Because it was him. That was Nico. Your Nico. Or like your past Nico.

There, with a red thirteen and a small C over his chest, was Nico. He was all grown up now, and instead of thinking wow, he is kind of attractive when he smiled at the camera, you thought, holy shit, he is really, really handsome. 

Your friend picked up on your strange behaviour. “What's wrong?”

I know him, you wanted to scream. I think he saved my life without meaning to, and I think I loved him but I never told him. What came out instead was, “I think I'm going to be sick.”

“What?” she asked, suddenly even more worried, “do you need fresh air? Or do you just want to leave?”

You wanted to stay. You wanted to shoot a puck at his head and tell him to look up at you, the way he had done back then. 

“No, don’t worry about it,” you said and when didn’t change at your reply, you added, “I’m just going to get some water. I think it might be the crowd or something.”

“Are you sure? Do you want me to come with?”

You knew how much she had been looking forward to it, and besides there was nothing she could help you with anyhow. “No, really, it’s all good. Just need to breathe for a second.”

She gave you a look, and you smiled despite wanting to curl up in a corner and cry, “if you are sure. But if anything,” she took your hand in hers, “if anything is wrong call me. I’m gonna have my phone in my hand the entire time.”

You squeezed her hand the same way your heart did at her words. “Thank you, really, but it’s okay. I'll be right back.”

Then you fled up the stands and you couldn’t help but think about the first time you had seen him, how you had left without saying anything. You looked down, just once, and spotted him immediately, as if he was the north pole to your south, your eyes drawn to him. 

He seemed even bigger now, as if he had finally grown into the steady confidence he had had, even back then. 

You smiled. He deserved it, genuinely. You were glad that he did end up making it to the big leagues, even if some part of you hurt at that. You still missed ice skating, your rink from back then, David, but most of all you missed what could have been if you hadn’t been scared. 

What could have been if you had just texted him. 

Regret was a useless emotion to feel, but all of a sudden you felt yourself drown in and you coughed once, just to ease that feeling in your throat.

Then you turned your back to the ice and walked up the rest of the stairs to the stands to get yourself some water. 

It was useless trying to think about any of it now, so you pushed the thoughts aside for later. 

~*~

A week later you were drunk. It was a Friday evening and you had finally finished the gruelling lab you had worked on for the entire day. 

You were hanging out in your friend’s room, the same friend that had taken you to the game a week before. Two of your other friends were sat ob the floor, leaning gainst the opposite bed and a warm, content feeling spread through your chest. 

You had friends now. 

“What’s wrong?” she suddenly asked from where she was sat next to you on her bed, her back against the headboard, yours against the wall adjacent to it.

“Nothing,” you answered because nothing was. 

“Don’t ‘nothing’ me, tell me,” she said, “you've been quiet ever since we came back from the game a week ago and I’ve waited long enough for you to say something, so now I’m going to.”

Had you been that obvious? Or did she just know you that well? Either way, she deserved the truth, the full truth.

“I just,” you began and stopped again, starting to peel off the sticker on your beer with the blunt edge of your nail. 

“When I was younger, I skated.” You started. You knew that she had never expressed any kind of interest in skating so you elaborated further, “really well.” Wow, you were really eloquent tonight.

“Okay,” she said, no doubt wondering where you were going with this. 

Your mind was fuzzy around the edges because of the drinks which made harder than usual to focus on your words, but it made it easier to talk about it, too. These people didn’t know about anything that had been, only what was. “I was good enough to win. Olympics, I mean.”

Suddenly one of the other two friends from the other side of the room joined in. “The Olympics?”

“Yeah,” you said, staring firmly at the bottle in your hands, not looking at any of them. “I won bronze and silver, fifteen and sixteen.”

“Holy shit,” she said, as did your other friend, but one of them remained quiet, so you looked at her. 

From the look in her eyes you knew that she knew. “And then I fell, badly. Tried to get up again but couldn’t. Went to the doctor and you know,” you trailed off, “retired. Started physiotherapy, got a lot better but…”

“Not enough to ever compete again,” she finished for you. 

“Yeah,” you said, voice hoarse. “But I couldn’t let go of it, you know? So sometimes, before school, I snuck out to the local rink and skated around just because I didn’t know anything else.”

Your friend that was next to you on the bed made an encouraging noise, and laid a hand on your knee, so you continued. 

“Then I met a guy. I was in a bad mental place, not really talking to anyone unless I had to, but we somehow became friends.”

Then you looked at them, “I don’t know, it was a weird friendship because we only ever saw each other at the rink every few days, but I felt something for him anyway. It wasn’t quite love but could have been, maybe.”

The others were still listening, and the words rushed out before you could stop yourself. “Then I moved. Wanted to leave before saying goodbye because that would hurt too much. On the day I was leaving I saw him anyway. He gave me his number but I never used it.”

“You wanted to make a clean cut?” your friend asked. 

“Yeah. It was sefish, because it wasn’t just about me, you know? I should have told him how I felt, but I didn’t.” You shook your head, “but that’s not even the point. I saw him again at the game.”

“Oh,” your friend that had dragged you to it, said. 

“Yeah,” you answered, and your other friend asked, “why didn’t you talk to him?”

The other friend, the one that had never asked you about your skating, even though she had known, even though she had every opportunity to, said, “because he was playing, right?”

“Yeah,” you said and you wanted to cry. You could still hear his name announced by the speakers. “Funny, all the time we spent together and I never knew his last name.”

“Who is it?” she asked, gentle, and you knew you could just not answer. You could bury it deep down, once and for all. But that’s not what you wanted to do, not anymore. 

“Nico Hischier.” And your friend laughed. 

“Of course it’s the captain,” she said and you couldn’t help but join in, the effects of the alcohol cursig through your veins. What were the chances, really? That he ended up in the state you had moved to all those years ago.

The others joined it. “He changed his number by now, I’m sure.”

“Oh yeah, definitely,” one of them said. 

All of you were quiet for a second. “Wait, I have an idea,” she said and moved her hand from your leg and grabbed your phone. 

She gave it to you and made a motion for you to unlock it. You did and gave it back to her. From where you were sat you weren’t able to see your screen, much less what she typed on it. 

After a few seconds she gave it back to you. 

It was Nico’s instagram profile. You hesitated before clicking on his most recent post. Your other friends that had been sitting on the floor climbed up to join you. 

“Follow him,” one of them said. You could feel your heart thumping in your chest. This was not the account you had used to document your wins and training back then, but it still had your first and last name in the username, but it was on private. 

Underneath your thumb the button changed colour. “Fuck,” you said.

The other three laughed at your exclamation. “Wait, do I text him?” you asked, turning to the others. 

They all looked back at you, and one of them asked, “do you want to?”

You did. You really fucking did, but you had no idea what to say. “But what do I say? Hey, sorry for being a dick to you when we were like seventeen, I was half in love with you and didn’t know how to tell you, so I just cut you out before anything could possibly hurt me.”

One of them leaned her head on your shoulder. “If you leave out the half in love part, it’s not too bad.”

“You should also ask if he wants to meet and talk in person,” the other said. 

You opened your notes app and the four of you composed a message to him. 

Your hands were shaking and your heart was beating too fast. This was it, this was your chance and you weren’t going to let go again without a fight. This time you would stay and he could make the choice: to stay or to leave. 

Then, you hit the small blue icon and sent it and let out a quiet scream. You wouldn’t be able to take it back, not anymore. 

You threw your phone away from you onto a small patch where the blanket you were sitting on was still visible. 

Over an hour passed and you still hadn’t heard back from him. Soon after you pased out, but a quiet acceptance had settled in your stomach. He forgot. Or maybe he didn’t see the message or maybe he didn't want to talk to you again, which you couldn’t blame him for. 

But when you woke up the next morning, you had a single notification from him. 

For a second you debated not clicking on it, but that would mean standing still. It would be different this time. You would be different this time. There was an unfamiliar, new kind of determination that flickered up your spine and it reminded you of the steady ice under your skates, of the final hug the two of you had shared. Harsh, unforgiving, certain. 

You clicked on it and there was no going back now.

Nico Hischier Hello, it’s been a while.  Of course I remember you, didn’t I tell you?  For sure, I'd love to meet up and talk. Does next weekend work for you? I have a home game which makes it easier for both of us. 

notes: So. How are we feeling? Thoughts? Part 2? Please talk to me about this one because this lives in my mind rent free.

#nico hischier #nico hischer x reader #nico hischier x reader #nico hischier x y/n #nico hischier imagine #nhl #nj devils #nhl imagine #nhl x y/n #nhl x you #nhl x reader #ame writes

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if haven't seen it yet but is going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

#David Tennant #Macbeth #Donmar warehouse #Cush Jumbo #I messed up this recording sooooo bad #I didn't see people pull out their phones to record it so I didn't dare do that either... #and man did I get a shitty recording out of it :( #and the audio ain't great either...Craig was sitting the furthest from me and didn't have a mic so can be a bit difficult to hear at times #Cush was sitting the closest to me (not that close - I was still in second row!) and David was sitting next to her #while I didn't have a perfect frontal view - the angle I was at did mean that I still got a perfect view of David's adorable smiles <3 #and all his other lovely facial expressions as he often looked to Cush when she was talking and replied to her... #which made it FEEL like he was looking in my direction *sigh* #and he looked so good with his comfy cardigan - skin tight jeans - and his glasses! #You know I have seen David quite a few times by now - but I'm pretty sure this was the first time I saw him wearing his own glasses! #I desperately wish I had managed to capture some pictures or a video---because OMG! He was so lovely <3 #Oh didn't know there was a text limit...or that I had written this much...guess I'm continuing in a part 2

[juanbodyswapstfs]

Fair Trade

David was a hard working father trying to provide enough to maintain his son. The downside to this was he wasn’t spending a lot of time with his son martin.

Martin was an attractive young man but doesn’t know the potential he has in his body. It pained David that Martin wouldn’t use his body to its full potential.

One day, David came home early from work. “Hey Martin, im home early!” Said David. David didn’t get a response and headed upstairs. He saw the door to his bathroom opened and saw Martin jerking off to his briefs. “Dad!” Martin proceeds to slam the door in a hurry.

A few hours later..

Hey bud, You doing alright? “Dad, please go away.” Said Martin. “Son, I know how you feel, when I was your-“ “Dad just stop it! you don’t know how I feel.” Said Martin angrily. “Alright, Ill give you some time to calm down, when your done, come to the living room and we’ll have a chat.” Said David.

A few minutes later..

“Hey dad, Im sorry for how I talked to you..” Said Martin. “Don’t worry bud, I get your sexual desires hehe.” David said. “I love you but sometimes I just wish we could feel more connected.” Martin said. “Yeah, Hehe I wish you knew how good and strong your body is martin.” David said. “And I wish I could spend more time with you dad.” Martin said. “Well, goodnight my son.” David said. They both head to bed and sleep until the next morning.

In the morning

Martin wakes up feeling a bit sore and clumsy. “Woah why do I feel so big all of a sudden.” Martin opens his eyes and sees a huge bulge in his briefs. “Oh my god dad, why didn’t I know you had such a huge package.” Davids package was girthy and long with his balls big and manly. “Damn my armpits smell fucking good.” Martin whips out his new package and starts jerking off. “Ooohh yeah that shits good.” Martin then cums all over his dads chest.

On davids side..

David woke up and already knew something was wrong. He stood up and looked at himself in the mirror, “Hey handsome, Im gonna treat this body how it should be treated.” David Takes off his socks and smells them, “Mmmm” David takes out his package and jerks off. “Oooo fuck yeah im your country boy.” His hot steamy sperm squirts on the mirror. Martin then knocks on the door, “Hey Dad, you like your new body?” Martin says. “Dad?” “Im your son Dad.” David says in a cheeky tone. “Oh dad, im gonna use this body to its full potential.” David says. “Hahaha son, me too.” Martin says. “Alright im going to work” Martin says then leaves.

At the construction site..

Martin was trying his hardest to fit in as his father, He had to take a leak and went to the restroom. At the restroom there was an attractive construction worker guy pissing next to him. “Mind If I give you a hand haha.” Martin said. “Uh David?” The man said. “Just joking with ya haha.” Martin said a bit disappointed. The guy zipped up and left the restroom in a hurry. When Martin finally finished he walked out and saw his manager. “Hey david, Im sorry to say this but, your fired.” “Wait what?” “You harassed one of your coworkers.” The manager said. Defeated, Martin headed back home.

At Martins school.

David was having a blast in his sons body, winning every game and scoring a lot in gym class! “Haha beat that suckers!” David says. “You changed so much martin..” says martins crush. “People change my dude.” David says says. Martins Crush walks away sad. The bell rings and David runs home in his new youthful body.

At home

David and Martin arrived home in each others bodies. “Im sorry Dad, I got fired.” Martin said. “Oh thats fine, its your body now anyways.” David said. “Im doing well in school so fair trade haha.” David Said. Both Martin and David were satisfied with their bodies, David joined football and graduated with a athletes scholarship and Martin got a job as a Gay stripper.

So sorry for not posting stories in a while, I was kinda blocked on what to do next.. Message me if you have requests! peace out.

#bodyswap #himbotransformation #hunktransformation #male body swap #male tf #male transformation #malebodypossesion #bodyswitch #dad and son body swap

[fuckyeahgoodomens]

David interview with Maggie Bocella for Collider, 10.7.2013

COLLIDER: Obviously, when you started making this show, you had the book to go off of, you had a very specific framework to work off of. But because everything for Season 2 is new, did you get to have any input with Neil Gaiman on where Crowley goes from the end of Season 1?

DAVID: Oh no, that's not my job. No, I mean, we've got Neil Gaiman, so you just get excited about what direction he's going to send you in. It wouldn't occur to me, to be honest, to start giving Neil Gaiman plot suggestions or character suggestions, that would just be limiting his brilliance, I think, if he was trying to sort of contort his ideas around mine. So no, I just sat back and was excited to let a script ping in and find out what was going to happen next. What a treat to get to be one of the first people to read the continuing adventures of Aziraphale and Crowley.

COLLIDER: In that vein, how do you think Crowley has changed between the end of Season 1 and where we see him now? Can we expect anything significantly different from him this season?

DAVID: Well, as you would expect, he's no longer working for his corporate bosses from Hell, which gives him a certain liberty. He's more of a free agent, but it does mean that they've taken back the swishy apartment that comes with the job. So he’s in slightly diminished circumstances. He's living in his Bentley in his car with his potted plant and feeling slightly hard done by it, I think. But quite early on, we see him meeting with Shax, who's his replacement in the job. So he's keeping his ear to the ground, seeing what's going on, and giving Shax a bit of guidance as to how to be Hell’s representative on Earth and also how to fix the boiler in the apartment. Yes, he's certainly as we always knew him, but probably a little bit grumpier.

COLLIDER: You mentioned the Bentley, and the Bentley being cursed to play Queen songs forever and ever and ever is one of my favorite parts of the show. I was curious what you think Crowley's favorite Queen song, is if he's not so sick of them that he never wants to hear them again.

DAVID: That's a very…wow, that's a difficult question. I need a lot of prep for that. What's my favorite Queen song? I don't know. I mean, “Don't Stop Me Now” is probably the best driving song, isn't it?

COLLIDER:Yeah!

DAVID: And he certainly enjoys driving at ridiculous, slightly supernatural speeds. I suspect that's probably the best soundtrack for that, so it's probably that, or “A Kind of Magic,” I suppose, makes a certain sense for a supernatural being with unearthly powers.

COLLIDER: That's a good answer. But you also work very closely with Michael Sheen, who you not only work with on this but also on Staged, you're quite close. What's it like getting to put that friendship dynamic to use? Especially since this and Staged are so completely different.

DAVID: It's very nice to get to work with a friend every day, you can't pretend it's not. I mean, we did have the pleasure of doing Staged during lockdown, which of course probably wouldn't have happened were it not for us getting to know each other so well on Season 1 of Good Omens. It wasn't so long after the first Good Omens came out that we were all locked in our houses for months on end. We managed to come up with this notion of doing Staged and making a show on our laptops, which, really, we did initially just to amuse ourselves, to see if it was possible. Then it ended up becoming more. We just [premiered] Series 3, so between the first season of Good Omens and the second season of Good Omens, we managed to do three seasons of something else together!

COLLIDER: This show has had such a massive fan response. How much of that are you really aware of? Are you seeing how people are reacting to this show?

DAVID: Oh, it's been quite overwhelming. I've been to a few Comic-Cons over the last few years, and when I visited them pre-Good Omens, I saw a lot of people dressed up as me from…another show. But that has slowly changed until the amount of Doctors and the amount of Crowleys I meet are certainly neck and neck these days. But what's lovely about the Crowleys and the Aziraphales is they always come in pairs, so you get to meet people who've got all dressed up often with their best mates.

That's one of the great joys of being involved in this show, that these characters are so beloved. And of course, the great honor of taking on something like that, a character that people are so enthusiastic about, is that the great terror is that you'll break it, that you won't be… I think, especially with a literary character, the act of reading a book is such an internal mental spell that you cast, isn't it? Those characters are almost more vivid than a character that you might see on screen. So embodying characters that have been so loved for so long, not breaking them, not, you know, crushing dreams… The way that we've been accepted by those fandoms, it's been quite humbling, to be honest.

COLLIDER: You're also part of another Neil Gaiman joint, you play Loki in The Sandman audio series. Obviously, that's a different medium, but are there any similarities between working on The Sandman and working on Good Omens?

DAVID: The Gaimanverse is certainly its own creation, but Good Omens is always slightly different, of course, because it wasn't just Neil, it was very much co-created by Terry Pratchett, who also had a very distinctive voice and a distinctive universe. But there's something very specific about the Good Omens universe, which is where these two very distinct, very vivid authorial voices blend together to create something very specific and quite unique. So, I don't know how similar it was being part of The Sandman. I mean, it was a great pleasure to be part of it. It was wonderful to make Loki come from Scotland as well. I think Tom Hiddleston should take some notes. There's nothing better than a Glasgow Norse god. I’m kidding, obviously, he is the definitive Loki, but I did my best to sort of, you know, target his coattails.

COLLIDER: Besides Good Omens and Staged, you are coming back to Doctor Who this year. It's all anybody I know can talk about, but obviously, the spoiler police will come and get me if I attempt to talk to you about too much. So if you could describe what audiences are gonna see in November in, like, three words, what three words would you use?

DAVID: Three words? Three words?! Three new stories. That's not very good, is it? That doesn't give you very much away. Neil Patrick Harris! There you go.

#good omens #gos2 #season 2 #interview #david tennant #david interview #ac #collider #doctor who #david on crowley #boiler #crowley and shax #collider 2023 #s2 interview