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foldingfittedsheets · 4 months

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One of my earlier jobs in life was at a little pizza place. I worked there when it was first starting up. It’s the only job I’ve ever been fired from and it was because a new manager came in and cleaned house. Because my state requires a reason to be fired he said I used too much pepperoni. So now on job applications I get to write that I was fired for “excessive use of pepperoni.” Never fails to get a laugh.

Anyway! For this story to make sense I’ve first got to set the stage. This pizza place started out as the Wild West of management but one of the original investors was super committed to work programs through the prison. We hired a ton of ex convicts and they were all, to a one, super hyped on Christianity. Like born again for the sole purpose of lauding Christ with their every breath.

I hadn’t been working there long but I’d definitely noticed the Jesus bug had gone around, and as I’ve never been religious at all I tried to steer clear of the topic for my own safety.

The day our story takes place, I was folding boxes. Anyone whose ever worked pizza can attest, there’s so much box folding. It’s something that happens at every lull, the pizza machine demands box folding on a grand and epic scale.

On my right folding his stack of boxes was a guy wider than he was tall, made of pure muscle, Corey. He was newer on staff, and due to a stutter he didn’t talk much. All I knew about him was that he got hired through the rehabilitation program and had done time.

On my left folding was a tall middle-aged woman who loved to yell at me, Cindy. She and I rubbed each other the wrong way and had nothing in common, leading to a tense working relationship.

We folded boxes in silence. This was really my best case scenario as a quiet Cindy was a Cindy not riding my ass, and Corey intimidated me.

But the weight of the silence grew too much for Cindy, who finally said, “I really want to go to bible school.”

I folded a box. I had less than no idea what bible school even was and I didn’t want to get sucked into a religious topic.

On my right Corey said, “W-why, Cindy?”

“Well, cause I believe what’s in the Bible, but I just don’t know it all.”

He nodded sagely to this.

Cindy continued, “And every time I sit down to read the Bible I get real sleepy. And I know it’s the devil.”

It’s so hard to convey her tone in written format. It was delivered with the emphasis and exasperation of an inevitable inconvenience. Like, I just know it’s the squirrels eating the bird seed.

I froze in place at this pronouncement. My only exposure to Lucifer was Neil Gaiman’s Sandman comics and I was trying to mentally twist into a frame of mind where The Morningstar cared enough about this one middle aged lady expanding her knowledge of the Bible that he followed her around cursing her with sleepiness when she picked it up.

I think I expected Corey to say, “Well that’s silly,” or something to acknowledge what a bizarre thing Cindy had just said.

Instead he said, “Yeah!” In a tone of complete agreement.

I didn’t look up. I tried to keep my face neutral at this development.

But something must have shown. Corey said, “You don’t believe in God?”

I shrugged casually and said, “If I did I wouldn’t talk about it at work.”

“C-cause it’s t-true. If y-you t-ry to r-read the B-bible on unsanctif-fied gr-round the d-devil m-makes you s-sleepy!”

I made a noncommittal sound and fled into the back room.

Over the next week it drove me crazy though. The logic of it wouldn’t leave me alone so finally one day when it was just Corey and I in front, and the restaurant was empty, I said, “Hey man, I have a question.”

He shrugged and listened.

“I really don’t mean this with any disrespect, I just genuinely want to know about the logistics-“

“J-ust ask.”

“Okay, so if Cindy gets tired when she reads any book, is it only the devil making her tired when it’s the Bible?”

His face went purple with fury and he yelled, “F-fuck you!” at my retreating back as I fled once more into the back room.

It will forever remain a mystery.

#ramblies #story #funny #as a caveat I don’t mean this story with any offense if you’re religious #but I think to assume that you’re being targeted specifically by a cosmic entity who rivals god is an insane hubris #the idea of a devil is already wild cause like he punishes bad people in the mythos so it seems like he's committed to people #paying for bad behavior rather than trying to trick them into it? but everyone treats lucifer like a boogey man which is weird to me #ffs foibles

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my-extremely-geeky-corner · 8 months

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Hi @neil-gaiman it's unlikely you will see and read this, but I wanted to try anyway. Bear with me, this might be a bit long but it's extremely important for me.

In 2021, Andrea, one of my best friends passed away. Some time before she did, she bought me this beautiful hard cover edition of Death's comics you wrote.

I'm not much into comics, I admit,but she bought it for me because she loved them and thought I would as well

I slowly started to read them, and got a bit lost as I'd never read Sandman before either. But what I read, I enjoyed. I liked how different Death was described in it.

After she passed away I couldn't make myself continue reading it for a long time. And then, last year, the Sandman tv series was launched

So I decided to watch it, maybe learn more about the universe and go back to finish the comics after.

But when I saw Death... All I could think about was Andrea. Death's character was beautiful. The way you envisioned death and translated into your work really moved me. And it helped me a great deal with dealing with my friend's passing. And I want to thank you for that.

Last year on Brazil's comic con (CCXP) I got the chance to briefly see the amazing Kirby Howell-Baptiste who kindly signed my book for me from the stage.That meant a great deal to me.I hope to, one day,also get a chance to meet you and have this same book signed by you. Thank you

#neil gaiman #the sandman

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indigovigilance · 6 months

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Continuity Errors

Crowley can stop time. We’ve noticed buggy things about time. Let’s talk about it.

I’m going to start with an overview of every time he has definitely frozen time in order to establish the mechanics of Crowley’s time-stopping power in the GO universe. Then, I’m going to talk about other events where Crowley may have stopped time, and it wasn’t (directly) shown to the audience.

or read this 3,500 word beast of a meta on Ao3

edit: if you're deciding whether or not to read this, check out the reblog notes!

Opening obligatory "do not put anything about this in Neil Gaiman's askbox"

Crowley freezes time locally, selectively exempting individuals

S1E2

In S1E2, Crowley freezes time at the corporate training ground to interrogate Mary Hodges, formerly Sister Mary Loquacious (played by Nina Sosanya, actor for Nina in S2). It may seem like she’s just hypnotized and time is progressing normally around all of them, but that isn’t the case. Immediately before Crowley hypnotizes Hodges, we can hear gunfire in the background; a few seconds before Hodges is released from the trance, we hear shouting and sirens. But during the time that Hodges is entranced, all we hear is three things: the dialogue, music, and what sounds like the ticking of a kitchen timer.

We could do a little bit of extrapolation from the fact that the beginnings of gunshots and siren sounds are temporally very close together, especially depending on how we measure time. Crowley turns the paintball guns into deadly weapons at 36:59. Crowley freezes Mary Hodges at 38:47. A ticking sound starts the same moment. We also hear what we will come to recognize as the “pause time” sound, a sort of wobbly sound. The ticking sound seems to stop around… 40:07? Right before the line about lovely little toesy woesies? It’s unclear with the overlapping tracks. At 40:11 Crowley says “let’s go” and we can hear sirens in the background start now. Aziraphale then snaps his fingers and unfreezes Hodges at 40:17.

So during 191 seconds of screentime, 84 seconds of it was spent with time frozen, if I accept the ticking sound to be the indicator. If time was only frozen locally, meaning just the paintball grounds and not the nearest police station and roads leading to it, then emergency services had just over three minutes from the time the first live round was fired to arrival. If time was actually frozen globally except for Crowley, Azirarphale, and Hodges, then emergency services got there in 85 seconds, or less than a minute and a half. Maybe Britain is doing something wildly different than here idk but I think the more likely explanation for the event timing is that Crowley is only freezing time in a local bubble. The shooters stop shooting but the police are still driving towards them while Crowley and Aziraphale are interrogating an entranced Mary Hodges.

The case with Hodges is kind of confusing because the audience is presented with a false dichotomy between “frozen in time” and “hypnotized.” It’s actually both. Crowley has frozen time around the three of them, but Hodges, like Aziraphale, was exempt. It just so happens that she was also entranced at the same time, which explains as well why Aziraphale can release her from the trance, since our best evidence indicates that he can’t control time.

S1E3 & S2E3

In S1E3, Crowley freezes Jean Claude, the executioner at the Bastille. Immediately before, we can hear the guillotine, screaming and jeering outside the cell. As soon as Jean Claude is frozen, however (13:29, complete with wobble sound), there is complete background silence, except for the dialogue between our ineffable aristocrats. When Crowley restarts time, background noise restarts as well. This evidence indicates that Crowley froze time for the surrounding area as well as inside the cell.

In S2E3, Crowley freezes Mr. Dalrymple. We don’t have definitive information about how much of the rest of the world is affected since the scene takes place indoors on a quiet night and there are no external cues of time starting or stopping.

S1E6: Freezing Out Satan

In S1E6, not only are Crowley, Aziraphale, and Adam pulled out of the normal flow of time: it seems that they are also pulled out of normal space. They appear to be in an ethereal desert where we can see their wings, but we don’t actually know where they are. The way we enter, inhabit, and then exit this time-stop is completely different from any of the other three explicit timestop scenes: Crowley must use his whole body to summon the power to cast the miracle, they travel elsewhere, then he must use his crankshaft to exit the time-stop.

I take this to indicate that freezing time when Satan is near takes a lot more power than freezing time around Mary Hodges, Jean Claude, or Mr. Dalrymple. Presumably, the power a being has, the more power it takes to lock them out of a bubble to stopped time.

Time Stop Mechanics

Here are my key takeaways from analyzing these four scenes:

Crowley isn’t so much freezing all of time as pulling himself and Aziraphale (and sometimes Adam) out of the flow of time. The effort this takes is dependent on the entities that they are “pulling away” from. It is easy to pull away from humans, so much so that they don’t have to pull away very far and can occupy the same space in a bubble of paused time. When he is “pulling away” from Satan, however, he must pull away much further, all the way to another plane.

Crowley’s ability is so powerful that he can use it to escape Satan. He could use it to lock out other powerful beings, if he wanted to, but it would take a lot of effort.

Aziraphale, a being with power somewhere on the spectrum between human and Satan, could be frozen by Crowley’s powers. The fact that Aziraphale is still present and active during all of these scenes, unaffected by the time stop is only indicative of Crowley’s choice to exempt him, just as he does with a hypnotized Mary Hodges and Adam.

Crowley has stopped time on Aziraphale

In a previous post I have addressed the possible symbolic meaning behind the Honolulu Roast sign that suddenly appears behind Crowley in the S2E1 coffee shop scene. This addresses the symbolic meaning of Honolulu with respect to Aziraphale, but fails to address the “roast” part, which I have the opportunity to do now. I begin by establishing two premises:

Crowley loves Aziraphale and after 6,000 years knows him very well.

Crowley is a dick.

Crowley sits down at the table across from Aziraphale and asks him what the problem is. At this point, there is no “Honolulu Roast” sign behind him. The camera flips to Aziraphale as he (badly) tries to deny that there is any problem. When the camera flips back to Crowley, a “today’s special: Honolulu Roast” sign has appeared behind him.

What does Crowley do next?

Crowley roasts Aziraphale.

Crowley proceeds to read Aziraphale to filth, rattling off all his tells and putting him in his place for even daring to think that he could mislead Crowley about his internal emotional state.

While we’ve seen a lot more of his soft side this season, we cannot forget that the demon Crowley, at the end of the day, is a prick. He really did pause time just so that he could go get a chalkboard, write a pun on it, and hang it on the wall behind him like a display card for open mic night. He’s still going to help Aziraphale, of course. But he’s going to make fun of him first.

Let me reiterate: Crowley literally paused time, got up from the table, put up this sign, then sat back down in (as close to) exactly the same position (as possible) to fool Aziraphale into not noticing the pause, because this joke is entirely for Crowley’s own amusement. We have some cinematographic evidence of this besides just the sign itself: the lamp behind him has moved slightly, and the camera angle focusing on Crowley has changed. Literally, the left hand side of the frame gets cut off due to the repositioning. From a production perspective, this scene would have been shot all at the same time, so should not have changed angles. That said, they did a by-hand follow-in of Crowley walking in and sitting down, then switched to a dolly, but… I have faith that they could have matched the shot line-up practically pixel for pixel if they wanted to. All to say: changing the camera position before and after, alongside the other conspicuous changes, seems like it was a deliberate framing choice used to indicate that Crowley tried his best to get back into exactly the same position, but was just a little off.

But Crowley’s prank is troubling from a perspective of honesty and agency. Based on the way the dialogue progresses, it seems pretty clear that Aziraphale doesn’t know that he was frozen. Whether or not Crowley could freeze Aziraphale was beside the point until this scene where we learn that Crowley would, even for a really dumb reason like making a joke at Aziraphale’s expense.

Before moving on, I want to note that the sudden appearance of this sign could be characterized as a continuity error, even though it was the result of a deliberate action by an in-world character. Jettison your traditional understanding of “continuity error” as “production made a mistake.” In this universe, we can have continuity errors by virtue that Aziraphale is experiencing time as if it is continuous, not noticing that he functionally blacked out for a few minutes and that things have changed around him. This is not a show-level continuity error. This is an Aziraphale-level continuity error.

Crowley can reverse time

Credit where credit is due: it was this comment on the Ao3 version of my meta, The Erasure of Human!Metatron, that became an earworm that got me thinking specifically about Crowley's abilities:

So thank you, LoveIsLove <3

Let’s go back to the Mary Hodges scene, or actually a few minutes before. Our ineffable idiots get shot by paintballs.

“Look at the state of this coat. I've kept this in tip-top condition for over 180 years now. I'll never get this stain out.”

“You could miracle it away.”

“Hmm… Yes, but… well, I would always know the stain was there. Underneath, I mean.”

Aziraphale finagles himself a favor without ever actually asking for it. Full points, princess. But let’s examine the actual content of the dialogue. This cannot be a complete 100% bluff; Aziraphale is not going to tell a straight lie to Crowley that they both know is false about the respective nature of their powers. It must be the case that there is some truth to this statement. There is a fundamental difference between what Aziraphale can do about the paintball stain and what Crowley is actually going to do about it. Furthermore, what Crowley does is something different than a miracle.

Crowley then blows on the stain, it disappears, and Aziraphale looks quite pleased. Yes, yes, he cajoled Anthony J Acts of Service Crowley into doing his signature move, but also, he’s genuinely thankful that Crowley did something for him that he couldn’t do for himself, because miracles don’t work like that. Notably, Crowley doesn't snap his fingers or make any other gesture that we normally associate with miracles, and we don’t hear the miracle sound, which is further evidence that this is not a miracle, but something different.

If you haven’t already, please read my meta entitled Jimbriel, Satan, the Book of Life, and what it means for Crowley. It explains in depth and with evidentiary support my theory about how erasure works in the Good Omens universe. The Cliff’s notes version is that erasing something, whether it be a name from the Book of Life or a paintball from a coat, is akin to erasing a pencil mark on paper; it’s technically gone but you’ll always know it was there. Underneath.

What Crowley has done, then, is not erasing the paintball stain.

He’s reversed it.

When he blows on the paintball stain, he is reversing time in a microcosm of the universe, truly making it so that the paintball never hit the jacket. In a world full of rubber erasers, Crowley has the only Control-Z. When things are “erased” by the Book of Life, they are changed, but when Crowley reverses something, they never happened (making Beelzebub’s description of the Book of Life actually a more accurate description of Crowley’s power). It is something unique that Crowley can do that Aziraphale can’t, and we haven’t seen any evidence of any other celestial being pausing or reversing time. Please feel free to reblog with links to relevant meta if I’m wrong about that.

In true Neil Gaiman style, Crowley using this power to do something mundane like get rid of paintball paint was an incredibly benign and subtle way to indicate that Crowley has an immense, untapped power that we have not yet seen him use for any major purpose.

I repeat: we didn’t see him use it. Because usually, like Aziraphale, we the audience are exempt from the time freeze, and we get to watch what happens. But this time, we were frozen out with Aziraphale.

Clock Theory revisited: a reinterpretation of “continuity error”

A summary of clock theory

Neil Gaiman’s ask and answer on clock theory

Neil Gaiman responded to an ask about the clock jumping forward from 9:25 to 9:40 before and after the kiss with a single sentence: “It’s a continuity error, I’m afraid.”

In the usual manner, Neil is not lying, but he is relying on you making an incorrect interpretation of his seemingly straightforward and innocuous but actually ambiguous and incredibly meaningful statement. As I stated with regards to the Honolulu Roast chalkboard sign, do not interpret “continuity error” as “production made a mistake.” Interpret “continuity error” as “Aziraphale believes that his experience of time is in lockstep with the actual flow of time and doesn’t realize that 11 minutes passed while he was frozen.”

Let’s consider the evidence:

Image at timestamp 41:04 “[Hold that thought!]” the clock reads 9:25

Image at 45:04 “If Gabriel and Beelzebub can go off together, then we can” the clock still reads 9:25

Image at 47:56 the clock now reads 9:40.

Image at 48:14 the clock reads 9:40

There are two four-minute gaps, from the perspective of the viewer, and we have views of the clock face at both ends of each gap.

Gap 1, from 41:04 to 45:04, the clock hands do not move at all, nor do they in any of the intervening shots.

Gap 2, from 45:04 to 47:56 (or 48:14, as you prefer), the clock hands move 15 minutes.

The Occam’s razor, Doylian explanation for why the clock hands don't move from 41:04 to 45:04 is that the clock is a prop. It does not have any timekeeping mechanism, the hands don’t move unless some human being opens up the glass, reaches in there, and manually adjusts it. They weren’t going to interrupt filming this moving scene to move the clock hands minute by minute, so it seems pretty plausible that the fact that it doesn’t move is just an artifact of production limitations.

The Watsonian explanation, which I do not favor, is that Crowley has frozen time for just the two of them. They are in a microcosm all their own. If true, this would have an abundance of implications, such that they are actually free to speak to each other freely, which they don’t. So I feel like with that alone, we can set this aside, but I’m open to being convinced otherwise.

If we accept the “clock is a prop” explanation for Gap 1, it doesn’t really hold for Gap 2 that they moved it a full fifteen minutes. So much care and attention to detail was given for all other parts of this show; I don’t realistically believe that a production staff member moved the hands a random amount. The music carries us from Crowley’s exit to Metatron’s entrance seamlessly, yet more time seems to have passed in-world than on-screen. There are two possible explanations:

There was more material that was supposed to be filmed to account for 15 minutes that got cut

We are supposed to figure out that there’s some “Greek play” style shenaniganery afoot

I will debunk explanation #1 with simply this: David’s contact lenses would sometimes rotate so that the slit pupils were not vertical. This error was fixed by VFX in post.

You might assume, when watching Good Omens, that Crowley’s serpent-like eyes are created using contact lenses. Or perhaps you’d presume they’re CGI. Actually, they’re a mix of both.

“The CGI versions were usually because the contact lenses had swiveled in David’s eyes … and we had to fix it,” says Mackinnon.

If they could fix Crowley’s eyes in post, there is absolutely no reason to expect that they couldn’t or wouldn’t have fixed the clock hand positions in post, especially if it was someone’s job to reach in there and change the positions to try to maintain set continuity in the first place. Additionally, there is deliberate use of clocks to symbolize various themes across both seasons. A Doylian error like this is not something that would have been overlooked and survived into publication.

So we are left with explanation #2. Time has passed that we, the viewers, don’t observe. What was happening during that time that we missed? More importantly, who knows that this time has passed? Aziraphale doesn’t seem to, and it’s unclear what the Metatron does or doesn’t know.

Some fans have posited that the Metatron is doing the time manipulations, but canonically, the only entity we have observed manipulate time is Crowley. We assume the Metatron is powerful because the angels are all afraid of him, but we’ve never actually seen him do anything, and so have no primary evidence for this. All over, he’s got some big “pay no attention to the man behind the curtain” Wizard of Oz vibes happening; I’m not convinced he could miracle his way out of a wet paper bag, and there’s a chance that in Season 3 we’ll find out that he’s all bluff. Not so with Crowley.

My hypothesis is that Crowley froze Aziraphale and everybody else for a one block radius, including the Metatron, and did something important in the bookshop before it lost its protection. Please see my meta on Sovereignty, Citizenship, and the Bookshop for an evidence-based argument on why the bookshop was the only place in the universe that Crowley could have safely hidden something. Since Aziraphale is no longer the head of an independent embassy, whatever Crowley was keeping safe in there isn’t safe anymore, and needs to be moved. Universe time continued to pass and the clock reflects that, but Aziraphale and the Metatron aren’t aware that they were paused.

Which also gives us a new interpretation for the kiss.

The Kiss, revisited

Crowley didn’t want to send Aziraphale a message.

Crowley needed a plausible cover for the immense effort it was going to take him to freeze time against Aziraphale and the Metatron that he knew was standing outside.

How do I know he knew?

No nightingales.

Juliet. Wilt thou be gone? it is not yet near day:

It was the nightingale, and not the lark,

That pierced the fearful hollow of thine ear;

Nightly she sings on yon pomegranate-tree:

Believe me, love, it was the nightingale.

Romeo. It was the lark, the herald of the morn,

No nightingale: look, love, what envious streaks

Do lace the severing clouds in yonder east:

Night's candles are burnt out, and jocund day

Stands tiptoe on the misty mountain tops.

I must be gone and live, or stay and die.

No nightingales could be the end of a romance. I argued as much in my inaugural meta just six weeks ago (and what a six weeks it has been, people!) But “no nightingales” could also be a secret signal to two people who have a unique bond through Shakespeare that Crowley has realized he is not safe, and he needs to leave, and he’s trying to tell Aziraphale that without letting their spectator in on the message.

Now he has to stop time to secure whatever item he’d been keeping safe in the bookshop. But keeping Satan at bay required him to lunge upwards, using his whole body to freeze time. He can’t get away with anything like that here in the bookshop, that would give up the ruse.

But what if he lunged at the person everyone knows he’s in love with and violently kisses them on the mouth, his entire body tense with the effort of freezing time in the presence of two ethereal beings? No one would notice the difference, or think anything nefarious of it; a Class A surreptitious time-stop.

One last crackpot theory.

Aziraphale knows what Crowley did. Well, he knows that he froze time, and for the first time realizes that Crowley has locked him out, and that he used the kiss as a cover. The violation of agency, trust, and their romantic bond are all breaking across him in the instant that time restarts, after Crowley has gone away for 11 minutes and returned to almost, but not quite, the same position inside Aziraphale’s arms. It is an intimate act that Aziraphale is fully tuned into, and for the first time, he’s noticing the continuity errors.

His horror-filled expression is one of broken trust. But his bond to Crowley is too strong for even this to break it. He knows that whatever reason Crowley had to pull this trick on him, it must have been a good one. It must have been to protect him.

“I forgive you.”

***

One more completely crackpot theory based on the Gavin Finney interview at The Ineffable Con last weekend.

The camera was supposed to circle them. Finney says that this was to show that they are the center of their universe, and their world is spinning.

Okay, okay. But could it not also have represented the spinning of clock hands? I’m just saying.

Closing obligatory "do not put anything about this in Neil Gaiman's askbox"

Find my entire collection of metas here

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thesherrinfordfacility · 10 months

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Source

Transcript of main article under the cut:

THE RASCALLY DEMON Crowley (David Tennant) and the neurotic angel Aziraphale (Michael Sheen) put aside their differences to pull off one doozy of a Hail Mary and prevent an impending Apocalypse in Good Omens' first season. The task cemented the pair's unconventional friendship. So what are divine beings who have fallen out of grace with both Heaven and Hell to do for an encore?

The answer lies with archangel Gabriel (Jon Hamm), who shows up unannounced on the doorstep of Aziraphale's London bookshop. Suddenly, Aziraphale and Crowley are caught up in a caper of biblical proportions- but also a more intimate tale.

"It's a mystery" showrunner Neil Gaiman tells SFX. "It kicks off a story that doesn't have giant consequences for the universe, even if it does have consequences for Aziraphale and Crowley. We have a lot of the marvellous Jon Hamm, who is the angel Gabriel and turns up at the beginning stark naked, carrying a cardboard box with no memory of who he is. In the same way, it is about Aziraphale and Crowley having to get involved with humanity in a way that they haven't before.

"They get dragged in slightly against their will to try to sort out the love life of Aziraphale's tenant," he continues. "Her name is Maggie (Maggie Service) and she runs the

record shop next to the bookshop. You'll see the coffee shop over the road, which is Nina's (Nina Sosanya). The relationship between Maggie and Nina is one that Crowley and Aziraphale try to fix, and mess up, because they are not good at human relationships, even if they can do miracles."

Truth be told, Gaiman never originally intended this arc to serve as Good Omens' second instalment. The TV series was based on Gaiman and Terry Pratchett's 1990 novel. The two collaborators had partially hashed out the details for a sequel to the fantasy comedy, late one night in a hotel room. This, however, is not it. Gaiman instead plotted a new narrative that could provide the connective tissue between the first season and a theoretical season three, if it happens.

"Because the hypothetical season three exists, there is a story that is there, and I didn't feel that we could drive straight from season one into that," Gaiman explains. "I knew what the stakes were. I knew what the parameters were. I also know that I had David and Michael. I had the angels from plot number one. I had demons from plot number one. And with anybody that I wanted to bring back, but didn't have room for right now, I did not have to bring them back as themselves.

"I had absolutely nothing for Madame Tracy to do in this plot, but I would be damned if Miranda Richardson wasn't going to be in this. She is one of my favourite people in the world. She is hilarious and is so good. And I knew I was going to have a new demon replacing Crowley as Hell's representative in London/the UK. Miranda's demon Shax is the best demon you could want."

It's late February 2012 and SFX is in Edinburgh for a set visit. A soundstage in Pyramids Studies has been transformed into a street in Soho. The visible local stores include the aforementioned book, coffee and record shops, as well as a magic establishment. In the middle of them all stand Aziraphale and Crowley, the latter in close proximity to his classic Bentley. It's close to the end of the six-episode season, so exactly what the duo is discussing constitutes a spoiler. We can say, however, that Aziraphale has picked up the pace. Time is of the essence as Shax marshals her forces to descend on Aziraphale's store and retrieve Gabriel.

"This is really Shax's first time out on Earth," Gaiman explains. "She is working very diligently and very hard in Hell for a long time. Now she is on Earth, trying to figure it all out. She's just discovering what Crowley has known for 6,000 years, which is that if you're a demon and come up with a brilliant plan to screw up the lives of humanity, people will get there first and do worse than anything you could have imagined! She's coming to terms with that.

"She is having to deal with the first crisis on her watch, as well, which is the disappearance of the archangel Gabriel from Heaven. It would be fair to say that by the end of the story, she is leading as much as she can get from Hell's requisition department - a legion of Hell - in an attack on a Soho bookshop."

When audiences catch up with Aziraphale again, he's enjoying his time among humans. He owns most of the block in a Soho neighbourhood, and he's meddling in Nina's love life. Meanwhile, Crowley has been living in his car, with his plants sitting on the back seat. He's grumpy about his current status quo, but frequently hangs out at Aziraphale's. The duo began as antagonists, but their history and blooming relationship will be fleshed out in flashbacks.

"One of the enormously fun things I came up with in the idea of minisodes," Gaiman explains. They are 25-minute-long episodes within the episode. We have three of them over our six episodes. Each of them is like one of those chunks of episode three (in season one). Whereas the longest one of those was four or five minutes, if that, these are full stories.

"You get to have the story of (put-upon Biblical figure) Job and you learn Aziraphale and Crowley's part in the story. Then writer Cat Clarke takes us to Edinburgh in the 1820s for a tale of body-snatching and attempted murder that the boys get involved in," he adds.

"Finally, Jeremy Dyson and Andy Nyman reunite the League of Gentlemen in a Nazi-period story that takes place very shortly after the episode in the church. That one was the only one I said had to be there, because I fell in love with our Nazi spies in the church I kept thinking, "What would happen if they essentially came back as zombies with a mission from Hell to try and investigate whether or not Crowley and Aziraphale were actually fraternising?"

Gaiman admits that one of the greatest challenges has been filming Good Omens simultaneously with his upcoming show Anansi Bays. The two shoot within throwing distance of each other, but are both time-consuming endeavours.

"If I could go back in time, I would go back to 16 September 2020, when Douglas Mackinnon (co-producer) and I got the phone call from the Amazon bigwigs to say, "We have

good news for you and interesting news for you," Gaiman recalls. "'The good news is we are greenlighting both Good Omens and Anansi Boys. The interesting news is you are going to have to do them both at the same time.'

"I would go back to then and I would throw myself on the call and say, 'Neil, don't! This is unwise.' That we are doing them both together is great. The amount of sleep I am not getting is monumental and monstrous.

"It's a little bit like childbirth, in that I managed to forget all the things that drove me nuts about the first one. Having said that, I managed to fix all the things that really drove me nuts making season one which is great. We just have a whole new set of problems making season two."

#good omens #good omens season 2 #crowley #aziraphale #good omens season two #not a shitpost but its good omens babyyyy #SIGH does this mean i need to edit my 40s meta AGAIN? im tiRED OF THIS GRANDPA #edit: missing page

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flameraven · 3 months

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The thing about "everything is meant" is... that was said for S1.

I don't think I've seen it used by the cast/crew for S2. And part of this is because the strike was happening (and also Twitter is dying) so we have a lot less interviews and behind the scenes stuff for S2.

I see people pointing out so many small inconsistencies and going "everything is meant!" and like. Sure. Maybe some of these things are Clues.

But this is a season that had a very tight budget, and lost a lot of it to Covid precautions. Covid also limited where and how they could film. These budget restrictions severely cut down on the planned run time. We went from planned 55 min episodes to 42 minutes-- that's a full hour of screentime lost.

So yeah, I think S2 probably had continuity errors in a way that S1 didn't. I don't think Neil Gaiman is lying about the clocks or the Bentley(s) to throw us off. I think there probably just were errors that they didn't have time or money to fix, because most people would not notice. I'm sure the crew did their best! Little details like the tiles on the sink show us they put in a lot of effort. But you can't catch everything. Neil Gaiman is very good at working within the limitations of TV. He has told us some of the workarounds they had to do in S1 - the scene with Crowley at the bar was originally planned to be at night, in St. James' park, with Aziraphale's face a reflection in the water. The Globe scene was originally supposed to be full of people, but they couldn't afford the extras, so we got Crowley making Hamlet famous as a favor to Aziraphale. Now it's hard to imagine those scenes any other way. I fully believe that he (and the cast and crew) made the show they wanted to make, to the best of their ability. And probably there are some little clues and foreshadowing that will make sense only in the context of S3. But I would be cautious about fixating too much on tiny details or minor inconsistencies.

#good omens #good omens s2 #fan theories #fandom #speculation #not everything is a puzzle box mystery

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ineffableandco · 6 months

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A recap of the panel with Peter Anderson Studio at The Ineffable Con 4

- Season 2 opening titles are a direct continuation of the end of Season 1 opening titles.

- All of it is only possible because of Neil Gaiman and Douglas Mackinnon. Peter Anderson says it’s because of “their brillance as creatives and their celebration of each person that they work with. They have a kind of respect for and celebrate, but they also collaborate in the best way possible.”

- Gabriel is hidden in every scene of the title sequence.

- The duck referenced on Mr. Brown’s newspaper (ep. 2) appears in the title sequence too (duck playing the accordion at the front of the stage).

- The indication cards (London, Present Day, Hell, etc) are made for real and then filmed.

- The Scotland hills were made with paper maché. The green and blue tartan is actually a Mackinnon tartan in reference to Douglas Mackinnon.

- The spider and Nazi fly were created for real and then filmed.

- The nebulae we can see at the beginning were chosen because people could relate to them.

- Peter Anderson confirms that there are hints for Season 3 in the Season 2 title sequences.

- It took about 6 months to make the opening titles.

- The symbols in heaven are actual language that can be decoded.

- The planet being born when Aziraphale and Crowley are dancing is just a planet.

- The Adam headstone refers to Adam and Eve.

- The names behind the chairs in the magic show are important. They all connect to different episodes and characters.

@neil-gaiman @theineffablecon

#good omens #good omens 2 #good omens 3 #Peter Anderson studio #neil gaiman #the ineffable con #TIC 4 #it’s ineffable angel #Good Omens News

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the---hermit · 4 months

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05|01|2024

Today wasn't a good day. So many thing could have made it a good day but I guess I woke up on the wrong side of the bed, or whatever people day. I yet again had a terrible night of sleep, I am still having so many nightmares and waking up several times during the night. I did manage to stay in bed until 6.45 which is better than yesterday, but I was hoping for something better. The morning was quite stressful even if I was out with a friend, and honestly I don't feel super motivated today. I just hope the weeked will be better. In the afternoon I did some studying which went better than expected but I also get distracted very easily which is not the best when reviewing notes.

calm hobbit winter activities and productivity:

read first thing in the morning

spent the morning out with a friend

daily Irish practice of duolingo

adulting tasks behated

continued my first full outlound review in preparation of my power practices and men theories exam

continued writing down key phrases for the Irish units I have finished on duolingo (I think I am more or less half way into this which is great, after I'll be done with this task I will start writing down words and phrases as I do my daily practice in order to memorize the words I struggle with the most. I don't have a super clear plan but as long as I am writing stuff down it's good because that helps my memory a lot)

continued my French review on duolingo

📖:The Sandman - Overture by Neil Gaiman

#studyblr #studyinspo #uniblr #university #journal #journaling #studying #productivity #student life #knife gang #mine #the---hermit

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o-uncle-newt · 9 months

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I'm not going to reblog Neil Gaiman's thing about how S2's episodes "don't have any fat on them" but I DO have some (spoilery) reactions to that below the cut-

OK so I already did another post here where I gave my impressions of the writing- but Gaiman mentioning this actually reminded me of something that I didn't put in there at all but kind of wish I had.

Because honestly, I don't think that the episodes not having any fat on them is a good thing.

Here's the thing- Good Omens, the book and the first season of the TV show, is a bunch of set pieces that loosely come together into a plot. The TV show less so, maybe- there's more of an effort to create a narrative- but fundamentally it's a bunch of ridiculous stuff all strung together to create the Apocalypse. (Like, there's a reason why book fans were so upset when the Four Other Horsemen of the Apocalypse didn't show up in the show- they did literally nothing for the plot but they were absolutely hilarious.)

So far, in the first 2 episodes of S2, I have to agree with Gaiman that there's no fat on them. And I think that's one of the things that kind of threw me. EVERYTHING that has happened thus far has felt like it's something that's probably going to lead to something else, like it's connective tissue for the upcoming story that will presumably make more sense later- and while there's plenty of entertainment and humor and sweetness, it's all to the point. You have to be paying attention, you have to take everything seriously (even if it's something that by rights feels inherently unserious) because it could matter later.

In S1, you didn't have to think too carefully about why a telemarketer is being eaten by maggots or even why there's still a witchfinder in the 21st century (for the show) because fundamentally it doesn't REALLY matter. Something will all come together at the end and in the meantime you can just enjoy it in the spirit in which it's given, which is of course an insane one. Each scene is just fun on its own. (I think this is in some ways truer in the book than the show- there were a lot of these scenes that I don't think worked on the show- but that was more about the execution than the concept.)

The fat in S1 was the good part, really. The plot wasn't all that important- it was all the moments along the way.

The closest thing to fat (to continue to use the metaphor) in S2, so far, is the minisode. It's the only thing where it doesn't necessarily feel like you'll be tested on it later. And it's also easily the best part of those episodes! You can just watch it and take all the ridiculousness for granted because it doesn't really matter. It's there to draw out the characters, it's there to give the world more color, and it's there to entertain.

Not that S2 isn't also there to entertain- it very much is, but it doesn't really have time to. It can be silly and random in the way that the book and S1 are, but instead of those being random throwaway moments (like Newt blacking out all of Dorking in the book- which signifies that his tech-unsavviness may be relevant to the plot later but is really mostly just there to entertain because it's so out-there), they are intrinsically tied into whatever the plot will turn out to be. That's really clear, even though we don't actually know yet exactly what the plot is going to be! The leanness of the plot is immediately evident.

I think, so far, that the main negative consequence is that it makes it so much harder to suspend disbelief. When you have a ridiculous moment in a throwaway scene, that's worldbuilding- it shows that this is the kind of world where ridiculous things happen, and then when a particular ridiculous moment ends up being important to the plot, that's fine because it's part of a whole constellation of ridiculous things in this ridiculous world- they've already deconstructed our sense of disbelief. When all you're getting is plot, when something a bit crazy happens you're like "oh, hang on, that doesn't make sense, that's a bit farfetched."

I think that that's one of the things that, so far, is giving "fanfic vibes" to the first two episodes. Maggie and Nina get locked into the cafe? In their first episode?! When we know that they're going to get together?!?! That's ridiculous. In the book and to a lesser degree S1, where like five other ridiculous things would have already happened that aren't heavily signaled to be important to the plot (Gabriel doesn't count because we know he's important to the plot too), this would just be one more ridiculous thing. In S2, it feels like something we need to suspend disbelief for because we haven't really had it suspended for us yet.

Everything I write about Good Omens here is going to come down to John Finnemore in the end because I can't help myself lol, but honestly, my first thought was "well he's really into plotting, so maybe this is part of that." But- he's also done nine and a bit seasons of a sketch show. While he was writing this he was also writing a season of JFSP (the sublime S9) where there was very minimal plot but everything was propelled by character building sketches, very much in the spirit of Good Omens. He knows exactly the power of random ridiculous moments to build the world and explain its ludicrousness. When him being a writer was announced, I saw so many people say "he's definitely got a bonkers enough brain to do this" except that it turns out that, while true, his bonkers sketch-writing brain doesn't really have a lot to do here.

That, plus the fact that I'd be really surprised from everything that I've heard over the last 2ish years if Gaiman wasn't the first and final voice behind everything written for this season, leads me to the conclusion that the issue might just be that S2 may be, as a group effort, over-plotted for its length. There's little room to breathe and live in the world. There are barely any humans, and as such there's not much time to remember that the story is set in a world where humans matter, which, as I pointed out in my previous post, is something that was really important in Good Omens the book and S1. It just doesn't have any fat.

Now- I should be clear- as I said with the other post, it is way too early to tell if GO2 is good or not, because all of the stuff in E1-2 was clearly building up to other things that haven't happened yet. I actually think S2 probably will be good. The above may not be "issues" per se. But I do think that talking about the original Good Omens like the "fat" is the problem kind of misses the point of why so many people liked it- and leaves GO2 with a pretty big burden to overcome in order to convince viewers that it is a continuation of the same world and same story they loved in S1.

#good omens #good omens 2 #good omens s2 #good omens season 2 #good omens spoilers #good omens 2 spoilers #gos2 spoilers #go2 spoilers #john finnemore #john finnemore's souvenir programme #jfsp s9 #because I can't help myself

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mirtola87 · 6 months

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"Tale as old as time", or how Good Omens planted a seed in my soul that's growing more and more (bettah) [2/2]

[Continues from Part 1] Then we started watching S2, and as it happens in any good mystery story, clues became evidences. Crowley and Aziraphale started laying their cards on the table. Throughout the episodes, they act more and more like an "us" and we get used to the idea that their side is a fact. No matter what happens, they will face it together, as they did more and more in the last 6.000 years of their "tale as old as time". Being a coup... ehm, "group of the two of us" without telling themselves and each other, walking on a wire. And then came the rainstorm, the canopy, Jane Austen, the ball, Beelzebub and Gabriel going off together, Nina and Maggie talking with Crowley. The moment not only the characters but the audience, too, realize that the ineffable love could be actually named and told. "Just a little change, small to say the least / Both a little scared, neither one prepared." It was pure revelation, mind-blowing and delightful. After 9 long years, I finally knew that they loved each other, that I loved them, and that I wanted them to be happy together, forever. If I could feel it so deeply, I wonder what it could have been like for Neil himself to discover that the two characters he knew so well from almost 30 years were in love with each other. And then, after 6 "quiet, gentle and romantic" episodes, exploring the evolution of the characters and their relationship and mutual influence through the time (6.000 years of bickering, longing glances and building trust in each other, "bittersweet and strange, finding you can change, learning you were wrong"), the last 15 minutes suddenly came and leave them (and us) heartbroken, as their love is told and denied in the very same moment. It was painful and devastating. And here I am now. Two months have passed since I saw S2 E6, and all that I, all that we can do is wait (and see, hopefully). But it's not, it can't be as before. Something in me has definitely changed. Or rather, it woke as if it had been long asleep. And it grows better and better. This story made me feel things I hadn't felt for years. It's making me feel love, and pain, and longing, and hope. It made me remember how great stories (amazing lies) can make you experience true, deep feelings ("true as it can be"); and it awoke my desire to tell stories and share feelings as well, a wish that had lied sleeping in the back of my mind for a long time. So yes, I am obsessed with GO, but it's not just about this story I love, it's also about me, I believe. And all the time in-between reading the book, watching S1 once, rewatching it and then watching S2 lead me to this, because things can develop and grow only with time. So I guess I should be grateful for that heartbreaking cliffhanger. If S3 had already been there for us to watch, I would have already consumed the answers I wanted. My mind would be at peace and probably none of this would have happened. Instead, I find myself full of questions (about the story, and about my life), I'm restless and eager, I'm painfully alive. And I feel like a new path, a new chapter, is opening before me. "Certain as the sun rising in the East", in the next years I'll be waiting for Neil to tell us about the "Neighbour of the Beast", and in the meantime I'll try my best to cling to that feelings as a precious gift, don't let them go, nurture them and use them for the best. There are many things I wish to thank @neil-gaiman for, but this is probably the most important so far.

#good omens #neil gaiman #terry pratchett #aziracrow #aziraphale and crowley #tale as old as time #neighbour of the beast #ineffable husbands #ineffable love #grow better #david tennant #michael sheen

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fuckyeahgoodomens · 3 months

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The Good Omens Musical Masterpost🎵❤

How it started :)

Some time before 2013: Vicki Larnach, the australian composer and lyricist, read the Good Omens book, imagined figures dancing on stage with brilliant music and thought, ‘Ah, I’m gonna ask Terry Pratchet and Neil Gaiman if I can turn it into a musical.’ and sent an email to the publishers. The next day she got an email saying, ‘We don’t want a musical but Terry’s coming to Australia, so come and say hello and tell us what you got.’

Rob Wilkins came down to meet Vicki and Jim Hare - Vicki's husband and writer - and took them to meet Terry. They spent an hour and a half with them where Terry asked ‘piercing questions’, had tea with them and they showed Terry a song that Vicki wrote (about the Chattering Nuns). Terry said to Rob, ‘Rob, write and email to Neil, “Dear Neil, this is Terry. I’m sitting in front of two hippies from Sydney and they want to make a musical out of Good Omens and I’m tempted to let them do it.”’ which was the best email they ever heard and then Terry said, ‘Okay, you have me curious.’ - it was because of the Nuns song which sounded like the book. ‘I’m gonna give you six months, come back with a first draft libretto and five songs.’

They then sent it to Terry who sent it to Neil. Terry said, ‘I really like it, you’re moving story, you’re doing all the right things, but where’s showstopper, where’s the toe-tapper, you know I need people to go to intermission just snapping their fingers with the song they just can’t get out of their head, and I haven’t heard that.’ - and they realized that they were so busy serving the story they forgot to do the wow-factor, but found it very encouraging from Terry that he wanted to make it better.

They went through the whole book again to find a centrepiece - and they found it when Warlock is growing up and Aziraphale and Crowley are with him, and spent months working just on that one thing and called ‘All Living Things’ [the song at the start of this post :)] which is a line from the book.*’ Terry gave that song to a person he knew and asked him to play it to his wife with no context and when the next day the person said that his wife woke up still singing the song Terry said to Vicki and Jim: ‘Well, that’s what I asked you to do.’

* [“This here’s Brother Slug,” the gardener would tell him, “and this tiny little critter is Sister Potato Weevil. Remember, Warlock, as you walk your way through the highways and byways of life’s rich and fulsome path, to have love and reverence for all living things.” “Nanny says that wivving fings is fit onwy to be gwound under my heels, Mr. Fwancis,” said little Warlock, stroking Brother Slug, and then wiping his hand conscientiously on his Kermit the Frog overall.]

Vicki and Jim got the permission to being adapting it as a musical in 2013.

Vicki and Jim on it a couple of years ‘fumbling about’, took it as far as they could and decided to bring another person into it: Jay-James Moody

In 2015, Jay James-Moody joined the collaboration initially as a dramaturge and directorial eye, eventually evolving into co-book writer. Vicki, James and Jay have continued to evolve through countless more revisions and a number of private development readings with the support, time and talent of numerous wonderful Australian performers testing the material.

In November 2017, the musical was presented in its then-current form and entirety for the first time before an audience of over 500 eager attendees. The cast included Luke Joslin, Lachlan O’Brien, Nancye Hayes, Barry Quin, Brett O’Neill, Lauren McKenna, Nicholas Craddock, Paul Capsis, Rob Johnson, Amy Lehpamer, Debora Krizak, Blake Erickson, Nat Jobe, Ana Maria Belo, Jordan Hare, Bella Thomas, Anthony Abrakmanov and Samson Hyland.

Following a rapturous response to this reading it continued to be refined and developed.

In 2019, ten days before the show came out they did their last presentation, since then they’ve been to London and shown a videotape of that workshop to Neil and Rob which was ‘a pretty heartstopping experience’ but both Neil and Rob were ‘so lovely and very generous with their time’ and they were showing it to them and in the intermission Neil said ‘I wish Terry could have seen this.’ (see here :))

Differences between the musical and the book

The ending of the musical is a bit different, they were worried about it but Neil said, ‘I totally understand, the ending of the TV series is different, because I had something that was book-shaped and I needed to make it TV-shaped. And you had something that was book-shaped and you needed to make it stage-shaped.’

It opens with the burning of Agnes Nutter and Aziraphale and Crowley are introduced there.

Act One ends with them ‘essentially breaking up’ because of a huge argument and they dissolve their friendship, Act Two starts with the first time they meet.

The Future?

What is the future for the musical: in 2021 they said that they need to work on some things and then they hope to do another run, initially in Australia.

There will be a CD of the soundtrack available when the show is produced in it’s full version.

Videos

Vicki, Jim and Jay talking 46min about the musical (this video was shown at the Ineffable Con 3 in 2021 :))

Sizzle Reel 6min

Anathema singing The Perfect Place

Crowley calling Dagon to check on the hellhound

Shadwell and Newt

Aziraphale vanishing Hastur 👀

Links

Webpage

Instagram - a lot of more bts videos and pics :)

How to support?

Subsribe to the instagram page and like and comment that you want the musical on posts :)❤. If you want to be a sponsor or donor, there is contact on their webpage.

#good omens #good omens musical #musical #masterposts #terry pratchett #neil gaiman #fun fact #:)

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sablewing · 2 months

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Thoughts about Good Omens S2 ending

Posted this on another site, thought it might be appreciated here. There are spoilers if you are one of the few people on this site who have not yet watched Good Omens season 2.

I've now watched Good Omens season 2 and like so many others I'm looking forward to season 3 and the resolution of the story. I've also been thinking about the meaning of the ending and how it gave the fans not what they wanted but what they needed in preparation for season 3. Here are some of my observations.

1. Ending was true to each character-It was painful to see Crowley and Aziraphale ways part yet it stayed true to how the characters had acted in season 1 and the first part of season 2. And oddly enough they parted because they would not give up their idea of how best to protect the other. Crowley feels the best solution is to leave while Aziraphale feels it would be better to work within the rules. They had a similar confrontation in season 1 when it looked like Armageddon was inevitable. Crowley wanted to leave while Aziraphale wanted to stay and make things work. The difference this time is that they've had time to recognize how important their relationship is so it was much more painful for them to part ways.

2. Aziraphale didn't agree to the job until he saw a way to help Crowley - When the Metatron is making the offer to Aziraphale, it isn't until Crowley becoming an angel again is mentioned that Aziraphale considers taking the offer. Before, he is willing to stay away from heaven but when he sees a way for Crowley to also return to heaven, the offer becomes acceptable. After seeing the first scene of the first episode with Crowley as an angel and his delight, it becomes clearer on why Aziraphale would want Crowley to reenter heaven. Unfortunately, Crowley has lost too much of his innocence as a demon and understands that he can't go back to the way it was. He cannot be the innocent he once was. Aziraphale, even with his many years of experience, is still an innocent in this regard, with a belief that things can go back instead of moving forward.

3. The Metatron and heaven need Aziraphale more than he needs them - When Aziraphale enters the elevator, the Metatron quickly presses the button for heaven and appears to breath a sigh of relief. As Aziraphale walked to the elevator to heaven, he kept looking back at Crowley. A couple of times he almost stops and changes his mind, yet he continued. He stayed true to the ideals but it is more difficult for him than it was in season 1 when he turned Crowley away. This may be why the Metatron breathes a sigh of relief once Aziraphale finally enters the elevator to heaven.It seems that heaven needs Aziraphale more than he needs them and the Metatron is relieved Aziraphale did not change his mind. The ending was painful yet I don't see another way it could've ended once Aziraphale agreed to go back to heaven.

I look forward to the next part of the story and hope that it will be as a third season. Thank you to Neil Gaiman for a well written story that stayed true to the characters and their arcs.

#good omens #good omens 2 #ineffable husbands

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commando-rogers · 10 months

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I know little ol me does not get much traction on this site and I’ve been reblogging PLENTY about the WGA/SAG-AFTRA strikes, but I keep seeing people confused about this online and irl so I just want to say:

As of now, the unions have NOT asked us to stop watching content. You can (and should!) keep watching and streaming your favorite shows and movies.

Now, I’m not a member of either union (though I hope to join SAG in the coming years if I get lucky, and maybe WGA is in my future if I get off my butt and write!) so I am not an authority on this, nor do I have all of the information. I could be mistaken on some of this, so those with more knowledge feel free to correct me! But I do know for a fact that the unions have not asked us to boycott watching shows.

The purpose of these strikes is to stop providing LABOR to the AMPTP (the gross weird mafia-like conglomeration of studios such as Netflix, Warner Bros, the like), not to stop watching.

Part of the issue with the proposed contracts from studios is the fairness of residuals (money paid to a writer/actor when their work is aired on TV, released on DVD, sold to a network, etc.). If already-aired shows and movies continue doing well, these workers keep getting paid (at least a little, they’re not getting paid for their jobs while striking but the studios cannot withhold residuals). (Of course, it’s messier with streaming services, which is another thing being advocated for in these contracts.)

So keep streaming movies and shows! Keep tuning in on TV if any of you still have cable! Go see Barbenheimer or anything you’d like to see at the theater! Support the art! This is a labor strike, not a consumer boycott. Not only might it help with residuals, but it shows the studios that there is still a demand for content. People are still watching their movies and shows, they still want to pay their subscriptions, and the studios are proverbially shooting themselves in the knee by withholding future content. That’s why this strike will work, that’s why WGA and SAG-AFTRA refuse to back down until their demands are met.

ESPECIALLY with shows that are coming out! Good Omens is one of my favorite shows, and season 2 drops on July 28th. Neil Gaiman, the writer, is very active on tumblr if you’d like to go check out his blog, and he’s being incredibly gracious and helpful answering questions about the strike. And he said the BEST thing we can do for the show is WATCH it. Watch in one sitting! Watch it on loop! We need to demonstrate demand, or the studios will cancel shows, which means artists out of work.

Of course, should the unions come out with a statement and ask us to stop watching, do it. However, that is not currently their wish, nor is it a rule of the strike.

(A note: if you’re like me and hoping to become an actor or writer in the future, this is NOT the time to get your big break. Studios are gonna come looking for nonunion talent to keep productions going. They are exploiting us and our desperation. If you scab and perform labor for a struck company during this strike, you WILL be blacklisted from ever joining the union in the future. Aspiring actors, that featured background gig is not worth kissing your hopes of a SAG card goodbye. Same goes for writers. You may see some SAG work continuing, that is being done under special agreements with the union, for SPECIFIC exceptions. Do your research on every casting call. Do not scab, these union members are fighting for OUR futures in this industry! The worst thing you can do is hurt them and throw your future away.)

Check out the WGA’s website and SAG-AFTRA’s website for more info on strike rules, and things you can do to help. If you want to make a financial difference, the best thing you can do is donate to strike funds. Go to this link and under Strike Assistance you’ll see a number of funds that are being used to help pay writers while out of work, AND to help pay the crew members who are also out of work because of the strike! Worker solidarity! Here is a link to emergency funds for SAG-AFTRA members.

If you’re in NYC or LA, stop by the picket lines! Even non-members are welcome to march, and a great way to help is to show up and hand out water bottles, food, anything you’re willing to donate and help make the picketers’ day just a little easier. And here’s a link to the LA chapter of Democratic Socialists of America. They have information on strike funds, as well as a fund specifically to help buy snacks for picketers! It’s summer, and both NYC and LA are miserable to be marching in the sun all day.

The other way the unions say we can help is by speaking up and voicing your support on social media. An anonymous studio exec told Dateline “The endgame is to allow things to drag on until union members start losing their apartments and losing their houses.” They said the quiet part out loud. You can look up the salaries of these studio execs. It’s tens and hundreds of millions. Then go look up what each union is asking for in their contracts. It’s a drop in the studios’ bucket, but they’re refusing to budge, and they’re showing their complete lack of humanity.

tl;dr: you can and should keep watching shows and movies during the strikes, unless we are told otherwise by the unions. There are other great ways to help! These unions are a huge driving force of American economy, and hopefully these strikes will help garner support for a larger labor movement for all workers to get fair pay.

Thanks for tuning in to my accidentally very lengthy post. But I hope this helps clear up confusion. Share this info with your friends, and voice your support loudly! And for the love of god DO NOT CROSS PICKET LINES!

#sag aftra #writers guild of america #sag aftra strike #wga strike #support the wga #wga solidarity #wga strong #writers strike #actors strike #sag aftra strong #sag aftra solidarity

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esthermitchell-author · 2 months

Text

Going to probably make myself worlds unpopular here, and get a lot of negative feedback (used to it), but I really have to say something.

However, before I start, lest you accuse me of being Ableist (I'm not. In fact, with my levels of physical disability, to call me Ableist would only prove how little you know me), I want everyone to understand that I've been a disability advocate for a very long time, and that includes ALL types of disabilities.

This isn't some kind of hate rant. In fact, quite the opposite. Consider it a gentle reminder (or as close as I can come to one... sorry, I'm a sarcastic, strange little shit, and I often say things in an effort to be funny that most people misunderstand *shrugs*).

Also, please remember that the same rules always apply to my posts. Whatever I say here is based on how I interpret canon, my own headcanon, my own life experiences, and my own opinions. It is NEVER meant to negate someone else's experiences, or to invalidate their opinions. Please, as you read, keep this caveat in mind.

Okay... Now that we've got all that out of the way...

I've seen a lot of talk about how "Of course Aziraphale / Angel!Crowley are Autistic. That's just how it is, and if you don't accept that, you're an Ableist."

EXCUSE ME? Unless you can point to the specific passage in the book or the specific moment in the show where they say "Aziraphale is Autistic/has Autistic tendencies" or "the starmaker is Autistic and that's why he does what he does" then you can't actually go around calling people names if they don't happen to agree with your personal experience of these characters.

I'm speaking with my authorial hat on, here. If someone read one of my books, and decided to declare themselves the end-all-be-all of authorities on my character(s) and tore other people down as "Ableist", "aphobic", "homophobic", etc just because other people saw something different in one of my characters (and without checking with me, the author, for confirmation), I would be highly annoyed. And since Neil has made a point of saying "if you see a character this way or that, then they are this way or that to you" (I emphasized the last two words for... well... emphasis), that implies that your way of seeing the character(s) is no more or less valid than anyone else's.

Now, I'll admit to being out on a limb in my defense of Aziraphale to the point that I don't think he's the villain he's being painted as, and I'm willing to die on that hill (this is my choice... I'm not conscripting anyone else to die on that hill with me), but my take of that has always been the understanding that it's been repeatedly said by the authors (both of them, to my knowledge) that Good Omens is a love story, and as such, the implication all along has been it's about Crowley and Aziraphale. That would make Aziraphale one of the heroes, and not the villain.

Also, at no point have I ever dissed Crowley (in any of his states of being) as being worth less than Aziraphale, either. They are, as I have continued to repeat, a matched set. That's how I see them. There's no one without the other. I see them as not wanting it any other way, either, based on what I've read in the book and seen in the series (and heard on the Lockdown audio)...basically, every canon source (as established by Neil Gaiman) portrays them as an equal pair, who want only to be together. And that has been my argument against the Aziraphale-haters all along. That if they truly want what's best for Crowley, and what would make Crowley happiest, then they should want him to be with Aziraphale, because that's what canon has established he wants.

Now, if you are Autistic, and you identify strongly with how Aziraphale (or the starmaker) acts as being similiar to you, then absolutely, for you, they no doubt are that way, and you are more than allowed to see them that way, and tell the rest of us all about how you see them that way, and why you see them that way. Write lots of amazing, ASD fanfic/comics/etc to show us your views. You're allowed to do all of that. What you are not permitted to do is call anyone who disagrees with you or sees them differently than you do "Ableist," as long as they're not being mean/derogatory about what they're saying. Calling people names for having a different opinion about fictional characters is just being exclusionary, and if you don't like it, don't do it.

This same rule applies for aroace people, demi/ace people (like myself), or anyone else in the LGBTQ+ community. Please, tell us all about how/why you see Aziraphale and Crowley a certain way. Write lots of fanfic/comics/etc that display whatever your personal sexuality/gender identity is. Draw all sorts of beautiful (or raunchy, if that's your thing) artwork that displays how you see them. But what you are not allowed to do is call people names or accuse them of "excluding" you, just because they choose to present their own viewpoint, as long as they're not being actively derogatory or rude. You don't have to read those fics/metas or look at those images. There are settings to avoid them if you wish.

My point is... there's plenty of room in the GO/Ineffable Fandom for all views and backgrounds. We just have to take a step back from our own narrow lenses sometimes, and realize where we're crossing the line from opinion into hurtful/rude. And we all need to keep in mind what the entire point of this fandom has always been -- to celebrate one of the most equal, beautiful relationships (however you define that word) to span the gap between literature and film. And a relationship requires more than one person, so lets just celebrate both Aziraphale and Crowley, and turn all this angsty animosity into creating a combined will toward their reunion and a happy ending for them both, together, in whatever form of relationship that takes.

Can we do that? Please?

#good omens #good omens fandom #aziracrow #ineffable husbands #aziraphale #aziraphale x crowley #crowley #azicrow #ineffable spouses #gomens #gomens fandom #go fandom

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