#but that's a meta (and one-shot) for another post

[ennas-aesthetic]

Dream, Orpheus, and the Constellation Lyra

One of my favorite Sandman headcanons involves the constellation Lyra, and I'll explain why.

-- Also, fair warning: this is a SANDMAN COMICS SPOILERS ZONE from here on out. --

Lyra is a small constellation located in the Northern Celestial Hemisphere. It is mostly seen in the northern sky from June through October, and while it is considered a relatively dim constellation, contains Vega, one of the brightest stars in the night sky.

Lyra, also known as The Lyre, is often associated with the myth of the Greek musician and poet Orpheus. Specifically, it was his lyre: the one he brought to the Underworld to get Eurydice back. According to legend, after Orpheus was mutilated and killed by the maenads, a deity (often thought to be Zeus), took his lyre and hung it in the heavens.

Now, of course I'm not saying that the stars in the constellation Lyra ONLY appeared after Orpheus' death. What I AM saying is that constellations are, more often than not, effigies of stories: markers of tales that are immortalized, set in stone, thought to live forever. Because what is more Endless than the stars that shine in the night sky? (The illusion of permanence, Destruction had waxed poetically.) And though one does not control the placement and (seeming) permanence of the stars, one CAN control the stories assigned to a particular asterism. Used in memoriam. And there is only one anthropomorphic personification who has both the motive and the power to do so.

Dream, after all, is the Prince of Stories.

He is also often mistaken to be the Greek God Apollo - Orpheus' father who, legend says, gave Orpheus his lyre.

He is, in fact, Orpheus' father.

And just... the implication of Dream figuratively hanging his son's lyre in the heavens by immortalizing the myths and tales that spurned from it is soo compelling and incredibly heartbreaking for me. Even more so if you actually think about when he might have done it -- if he had started to immortalize the story behind the asterism right after he said his goodbyes to Orpheus, told him he would never see him again. That he wasn't his father anymore. The action tells such a secret, heart-rending pain and ache, showing that perhaps Dream wasn't as unaffected by the falling apart as he appeared to be. That there is still a bitter kind of love in there, somewhere. That Dream, too, wished that things had been otherwise, no matter how much he tries to deny it.

What's even better is that this does not seem to be Dream's first time putting up memorials to preserve stories that MEAN something to him. In the Netflix show, the Gates of Horn and Ivory contain bas-relief sculptures of what looked like him and a girl. Anyone who has read Overture, of course, would immediately know that the bas-relief is HIS AND ALIANORA'S LOVE STORY. Unto the Gates of Horn and Ivory Dream has carved the story of a girl of light who saved him, and who - like most of his lovers - eventually felt abandoned and forsaken by him.

There's just SO MUCH to unpack in this if he has done the memorial bit more than once. Why does he do it? Is it to remind him of his shortcomings? To torture himself for all the mistakes he has done, to remember to keep everyone at arm's length lest his love shatters and ruins them? A stark, solid admonishment to continue pushing his feelings down, to never mourn or grieve, or feel, lest it destroys the collective unconscious entirely? Perhaps we'll never find out. All we'll know is that those stars will continue to shine and that Orpheus' tale will probably last, as permanent as the lyre his father has lovingly crafted, then hung in the heavens. A tale of pride, love, regret, and tragedy.

We'll tell it again. And again. And again.

And in that way, he lives.

#the sandman #netflix the sandman #dream of the endless #morpheus #dreamling #The other part of this headcanon is that Dream tells Hob about Orpheus through the constellation Lyra #but that's a meta (and one-shot) for another post #idk i just LOVEE the implications of this headcanon im in love with it ok #orpheus #sandman meta

[allthoseotherworlds]

It's honestly pretty frustrating sometimes how I feel like so many people say they love Martha, but mostly what I actually see people saying about Martha is how much she probably does/should hate the Doctor for not returning her crush, or sometimes how much people hate Blink/Family of Blood/Last of the Time Lords because they were hard for her.

And like, the former of those is frustrating because a) Nobody is obligated to return someone's romantic feelings, b) Being oblivious to someone having a crush on you might suck for the other person but is not actually a moral failing and c) Martha was sad about it but like. She didn't leave because she was furious at the Doctor for not returning her crush? She left because she knew her crush wasn't reciprocated and wasn't going to be, but couldn't get over it on her end while travelling with the Doctor. And also because the past year had been pretty traumatizing for everyone, including her and also the Doctor and also everyone else who was on that ship thing.

Anyways

I just wanted to talk for a bit about the things I like about Martha, or that are interesting, that are unrelated to those points above.

I think she's the first companion in New Who to join Unit, and I think still the only one to be a medical doctor with a strong scientific backing. Which is cool!

I think it's interesting that in the first episode she appears in, her family is shown to be kind of messy and kind of frustrating, and it feels like that's something she's a little glad to be getting away from for a bit when she travels with the Doctor (though it's not the reason she travels with them). And then, at the end of the season when her family is in danger she prioritizes their wellbeing enough to snap at the Doctor about it. If I remember correctly their phones were tapped or something and it wound up making things a bit worse, but I appreciate the nuances of her relationship with them and how important they are to her despite the messiness.

Despite all the ado made about her crush on the Doctor, I really loved how she really seemed to get the point of travelling with the Doctor. I think that she nailed both the joy and excitement of the unknown, and the compassion and sense of care that motivates the Doctor's travels, and which I think is vital to all of my favourite companions.

It also contrasts in interesting ways with how her personality shifts after she stops travelling with the Doctor - she still cares about people's wellbeing and seems to value the things she learned while travelling, but working with Unit and Torchwood does make her more military, and then of course doing freelance alien fighting (? or something?) in the End of Time.

I think Martha and the Doctor are an interesting duo because they contrast each other in interesting ways. They're both compassionate, hopeful but practical, and good at what they do, but they reflect those qualities in ways that almost, but don't quite, fit together nicely. They don't conflict, really, but they're not quite sustainable either.

They work well together and care about each other, but they're too similar in some ways and too different in others to ever quite see eye to eye, which is why they end up going in different directions. And I think that's not anyone's fault, or indicative of any deep flaws in either of them. Or even really a tragedy, because Martha seems to be doing new and interesting things every time we see her, with plenty of options available and a decent rapport with the Doctor whenever they show up.

Anyway this got way longer than I meant it to. Tldr: There are so many more interesting things to say about Martha than just "She must hate the Doctor". Here are some of them.

#Also I didn't have room here but. I understand hating the family of blood stuff but. John Smith is not the Doctor. That's the whole point #John Smith is absolutely rude to Martha and I dislike him as a person. But he is also not the Doctor #And I absolutely do not believe that the Doctor handpicked the persona and went “Yeah. Making him rude and racist and like guns” #I think they just got out the chameleon arch and said #“Here's the time and location that gives us the best shot at avoiding the family of blood. Give me and Martha random identities. Thanks” #That said it's actually not an episode I particularly like so I don't know why I'm rambling about it here #I get anxious about things where characters are Not Themselves and being rude and mean in ways they aren't #And also found the ending a little Too Much personally #Anyways I'm just monologuing now #Doctor Who #Doctor Who Meta #Martha Jones #I am talking #I am just some guy (gender neutral) #This post brought to you by another person joking about how Martha is so strong for putting up with the Doctor because of the crush stuff #And me as an aromantic not enjoying the implication that I am something to put up with and that the most interesting thing anyone can say #about a dynamic between two people is how much it sucks that one of them didn't know the other had a crush and 'led them on' #or whatever. But just ranting about that again didn't feel constructive so I tried to say more interesting things instead

[raayllum]

I forget if I’ve ever fully elaborated on my “in show, humans almost always Thematically have the moral high ground because, although they are marked by dark magic, they are also always the ones Introducing the idea of Breaking the Cycle to elves” thoughts here on tumblr rather than discord, but re: the show’s themes of solidarity against group fear mongering (Viren) or cold isolationism (Xadia)

It’s perfectly on brand to me that the humans, likewise, are the ones wanting to solve and fix problems together, whether in their interpersonal and political relationships, such as the main cast or in the cases like the Queens of Duren coming to Katolis at all

whereas Xadia, either out of love or hatred, insist on pruning the tree / sticking to their own, etc.

and it’s a worldview divide that is also most reflected in the humans who are most like the Xadians they despise 

and I just think it’s Neato

#tdp #tdp meta #mini meta #analysis series #arc 1 #arc 2 #the gang's all here #the cycle #the pentarchy #xadia #analysis #the dragon prince #aka i think posting one last meta before bed helps me sleep lmao #also very nervous about that shot in 4x04 now with the trio almost set up like Dominoes but post for another day maybe #misc

[celaenaeiln]

One of Dick's greatest strengths is his ability to manipulate every single person in existence.

Genuinely I think this makes him the smartest person in the room. Not only is he a brilliant detective, but the fact that he's able to outmaneuver and control virtually everyone including other geniuses and masterminds makes him the most terrifying. There's a reason why his enemies have give up using intelligence against him and simply resorting to brute force.

Now hold your horses before you bring your crowbars and let me explain.

Dick once said, "On an even playing field, I always win."

And it's true. But how do you even the field if your enemies are geniuses, detectives, or metas?

"Well, if you don't like how the table is it, turn over the table."

And that's exactly what Dick does.

Let's begin from his younger years. Dick is 19, newly out of Batman's wing and in no position to take on a skilled mercenary on by himself. But the mercenary isn't going to stop just because he says please. So.

DEATHSTROKE WAS CLEARLY NOT EXPECTING TO GET OUTPLAYED BY A 19 YEAR OLD.

"You're right Slade, he's not a fool so choose a dumber kidnapping victim next time."

Ofcourse this is the least of his abilities.

This cover is perfect because it shows how two of them are literally in a constant game of chess. And evidence of Dick's tactical expertise was never more obvious than the bombing of Bludhaven.

By all means Dick had won.

And he's right. Dick is incredibly intelligent, and he has to be given how he maneuvered the entirety of the world to save him city. Not just the heroes and villains, but everyone - the heroes, the villains, the government, the civilians, the organized crime - everyone. He ruled the freaking world at that moment.

@haroldhighballjordan actually made a post about this that explains this scene so well

But yeah Slade knew he lost so in his petty vengeance what he basically did was set the whole fucking chessboard on fire.

The perfection to which Dick had calculated and moved millions of people to force Slade into abandoning their game and leave him shrieking and seething in rage over his loss. Another reminder that this game only happened because Dick manipulated Rose away from her father, away from his control to a better life.

Spyral is one of my favorite comics because it shows just how good of a manipulator Dick Grayson is.

One of Dick's coldest traits is his ability to manipulate a situation to fit his needs.

In the beginning Dick wanted to calm the meta down and take him in but the second his opponent let out the slightest hint of weakness, look how fast he flips his words. This man is brilliant.

And his planning came to fruition as the meta wore himself out, allowing Dick to take control of the situation and the opponent with no harm to himself-a quick, two second exit. He can manipulate emotions, thoughts, and people to get what he wants like he's playing chess with a child.

But it's not just other people- he can completely change himself to become a whole new person. In the earlier chapters, Dick is learning how to shoot a gun for the agency.

Dick's a terrible shot. Not a single bullet lands in the center of the target-there's no way he's ever going to shoot well....or atleast that's what he wants you to think-

"Yeah, well, that's what spies do."

"We lie."

He's a puppet master and the final boss.

part 2

#dick grayson #nightwing #comic panels #manipulative dick grayson #part two coming soon #slade wilson #deathstroke #tiger #spyral #dc #batfamily

[userpeggycarter]

@lgbtqcreators creator bingo 💖 animation.

PEGGY WEEK 2024

day seven — birthday extravaganza 🥳

OMG its Blorbo Bleebus!

[in ● sp] [id under the cut]

gifset about Peggy Carter from the Marvel Cinematic Universe.

gif 1 of 7. two close-up shots of Peggy are blended together. at the middle, there's a static image of Peggy with her arms crossed. the text says, "OMG this motherfucker is Peggy Carter".

gif 2 of 7. two gifs of Peggy are blended together. there are stats bars at the bottom of the gif. the pairings (extremities) are:

just some guy - the protagonist of life head empty - too many thoughts awful company - ray of sunshine hated by all - loved by all trauma 3000 - untouched by history sadistic for fun - helps others for fun stupid as shit - scary-smart 1000 weapons - 1000 tools enemy of god - at peace with life break the rules - change the rules

gif 3 of 7. two shots of Peggy are blended together, one of them being of Captain Carter. the text says, "evokes" and the options are the following:

spontaneous gushing powerful violent urges raw, unbridled affection the horny meta-posting on main creative drive defensive feelings distraction delight symptoms of projection absent-minded doodles on tabletops the most godawful takes known to mankind

all options have a checkmark next to them.

gif 4 of 7. two close-up shots of Peggy are blended together. there's a chart at the center of the gif, titled "subclass". the subclasses are:

angst lady enemy of the state friend shaped girlboss soft and sweet brain cell haver just like you fr aspirational character chew toy

the angst lady, enemy of the state, girlboss, brain cell haver and aspirational character options are marked with a circle.

gif 5 of 7. two shots of Peggy are blended together. at the center of the gif, there are three stats (intense, complex, and fruity) with 10 points each. Peggy has all 30 points. while the intense and complex points are green, the fruity ones have the colors of the bisexual flag (blue, pink, and purple). at the bottom left corner, there's a big asterisk with the following text next to it: if you or a loved one is attached to a character that fills all of these boxes, you may be entitled to financial compensation.

gif 6 of 7. two close-up shots of an animated Peggy are blended together. the text says, "you want them to have...". the list is the following:

a better time less trauma more romance more friends catharsis revenger sympathy a better situation more healing more sex The Realization and a trademark symbol next to it.

all options have a checkmark next to them.

gif 7 of 7. two shots of Peggy are blended together, a close-up and her silhouette entering a room. "select all that apply", the text says. the list is the following:

tragic backstory? orphan? frequently violent? divorced? has enemies? sidekick owner? no friends? pets stray animals? chronic insomniac? murderer?

there's a checkmark next to "tragic backstory", "frequently violent", "has enemies", "sidekick owner", "pets stray animals", and "murderer". each checkmark has a color that corresponds to a small static image at the bottom of the gif. the tragic backstory one is an image of Peggy crying. the frequently violent one is an image of her holding a gun. has enemies: a picture of Dottie. sidekick owner: a picture of her and Jarvis. pets stray animals: a picture of Peggy holding a puppy. murderer: yet another picture of her holding a gun. end ID.

#* #marveledit #peggycarteredit #peggy carter #agent carter #peggyweek2024 #marveladdicts #womenofmcu #usergif #ladiesofcinema #femalecharacters #cinemapix #moviegifs #filmgifs #filmtvtoday #fyeahmovies #televisiongifs #cinematv #tvarchive #usertiny #userelysia #userpegs #usereme #userrin #usertreena #userlaro #userarwen #useralien #uservalentina

[percheduphere]

LET'S TALK ABOUT "HE'LL MAKE IT BACK"

Special thank you to @mmobiuses, @starrose17, and @stevenrogered whose gifs make-up the lion's share of this post. Thank you to all the other amazing gif artists as well, without you, my metas won't be possible.

This might come as a surprise to a lot of people, but I actually wasn't big on Lokius until Season 2. I thought Loki and Mobius made a cute ship in Season 1, but that was the extent of it. In truth, I lost interest in the Loki series by the S1 finale and had 0 interest in watching S2. I didn't give the series another try until I saw positive reviews on Tumblr. I therefore started watching S2 when S2E4 dropped.

LOKI SEASON 1

Enjoying the potential love story between two characters is a deeply personal and subjective experience. So take what I say as my personal experience observing Loki and Mobius's relationship.

I fully believed Mobius loved Loki in S1 in the platonic sense. Tom Hiddleston has given a few interviews on Loki's and Mobius's relationship and seems to believe in this sentiment as well [see 5:30-7:30 and 10:57-11:00]).

That is to say, in S1, I didn't feel, "Oh, my god ... he loves him." It was more, "Yes, he loves him", there is no question, his actions prove it.

There is wiggle-room for unrequited love in the S1E4 interrogation scene, but the jealousy Mobius exhibited could have just as easily been a combination of anger on behalf of his murdered colleagues and platonic jealousy.

However, I felt the first hint of unrequited love from Mobius occurred during his goodbye scene with Loki in S1E5. Specifically, this look:

I had no expectations for that look to pay off in any way. Season 2 surprised me.

LOKI SEASON 2

S2E1 is amazing episode because, through subtext, it reframes how Mobius's S1 emotions may be interpreted with stronger evidence for romantic motivation. In this episode, there appears to be a subtle, gradual build-up to the moment that Mobius's love for Loki may be viewed as fully romantic. Let's break down the episode and look at the progression:

First, learning that Loki is at the TVA: *sigh* I can't find the "Loki's here?" gif.

Second, and perhaps the most infamous, the reunion and whole-body support Mobius provides Loki in the TVA War Room (physical comfort):

Third, Mobius bringing Loki somewhere safe and quiet, assuring him that "it's okay" (emotional comfort):

Fourth, Mobius insisting that Loki's condition must be fixed, not once but twice, in two different scenes. A third (writer's magic 3s!) instance occurs in the Heart of the TVA, just before the gangway scene (prioritizing the other):

Fifth, Mobius's admission that Loki's timeslipping looks horrible, and he can't look at it anymore. He repeatedly stresses to Loki how serious this is (emotional and physical empathy):

Sixth, Mobius taking Loki to exact right person who can help. This is particularly significant, because Mobius is the only person in MCU canon who has verbally expressed concern for Loki's physical well-being and took immediate action to stop the pain (act of service):

Seventh, the third time Mobius prioritizes Loki's wellbeing. He scolds Loki and reminds him they have only one shot at getting his timeslipping corrected before the temporal radiation becomes too high (prioritizing the other):

Eighth, Mobius interrupting Loki, insisting that he will make it back. The subtext here is that no other outcome is acceptable or thinkable for Mobius (emotional comfort):

Finally, Ninth, the clincher: "He'll make it back." (self-comfort)

This scene is everything to me. Moments 1 through 8 build-up to this singular moment. Let's do a micro-analysis on it.

After Loki timeslips, the camera stays on Mobius. It tracks him as he kneels down to pick-up the time sick, the last thing Loki touched. The camera then pans up as Mobius rises.

@stevenrogered, THANK YOU for this gifset. It's literally the only one I could find that captures the camera tracking Mobius after Loki disappears, and this is my all-time favorite Mobius scene.

Mobius stands for a moment, motionless, and the camera holds on his facial expression. He's staring at where Loki WAS for extended period of time (keep this in mind for later). He's holding his breath. He's worried, scared, and hopeful, not for himself and the danger he faces on the gangway, but for Loki.

Finally, he exhales as he says to himself, "He'll make it back".

This entire sequence--particularly the moment when Mobius picks-up the time stick and holds it in silence--made me feel, "Oh ... Oh ... he loves him."

The camera stays with Mobius, capturing his reaction to this high-stakes situation for a significant amount of time (@loki-us, maybe you can get this timed starting from the moment Loki disappears and Mobius starts to kneel to pick-up the time stick?). Cinematographers don't do this type of hold unless they want to illicit a strong emotion from the audience regarding the character we are focusing on in the moment.

My insides swooped, which rarely ever happens when I view film or television.

And this camera hold, this pregnant pause, is mirrored by Loki's stare in S2E5:

#loki #mobius #lokius #loki series #loki season 2 #loki meta #my meta #loki analysis #my analysis

[relaxxattack]

Piggybacking off the last anon, what is it you like about Jane so much? I find my feelings on her kind of mixed but I lean towards positive.

okay i haven’t read act six in probably like 5 years so bear with me here. *cracks knuckles*

jane is sooo so interesting and it’s really a shame people miss like everything fun about her.

pre-scratch she used her detective work to literally succeed at tearing down the crocker cooperation, to the point that HIC has to fucking abandon ship and head into another universe to have another shot at her evil empire. pre-scratch jane is also fucking hilarious! if you didnt enjoy her antics with john as nannasprite you must just have no heart

meanwhile HIC breaches a new universe, and her FIRST fucking order of business is to NEUTRALIZE JANE CROCKER because of how goddamn detrimental she was to HIC’s plans the first time around.

not ONLY does HIC pump subliminal messaging and brainwashing into nearly every aspect of jane’s life, she also tries to straight up mind control her basically whenever possible! she ALSO sends assassination attempts after jane 24/7! (people will seriously try to say that jane lived a safe normal life… as if she wasn’t almost killed by walking into her backyard.) this is because HIC is fucking scared of jane, as she very well should be!

jane is also NOT a boring weepy annoying crybaby like everyone and their mother complains about. jane is literally the most fucking supportive friend and emotion-repressing dumbass you could ever hope to meet. jane combines john’s emotional repression and jade’s intentional cheerfulness together into one of the most fucked up cases of emotional repression in the whole comic

act 6 suffers from a LOT of shitty writing choices, but it’s not jane’s fault the whole act turns into a soap opera— and she’s ALSO not the only one who acts all soap-opera-y either! literally all of the alpha kids suffer from this, people just like jane the least so they project it all onto her. despite the fact that she did her very fucking best to NEVER talk about her feelings, to the point where she ONLY started telling people about shit when she was mind-controlled or took mind altering substances to make her do so! and you can say “ohhh that’s stupid she shouldn’t repress things in the first place how dumb” but, one she’s sixteen, and two, everyone eats that shit up when it comes from like. literally any other character.

people (cough hs2 writers) act like she would actually be “pushy” with a relationship on jake— as if she wasn’t literally the one who helped him make the decision to explore dating dirk?? because she thought it was the right thing to do???

jane is incredibly thoughtful and mature and people really throw all of those traits out of the window with preference for a version of the story where she Comes Inbetween Their Fave Gay Pairing as if she wasn’t, again, the one who got them together. jane is also extremely interesting in terms of queerness; she’s got the makings of a really interesting arc, not to mention she’s the only human girl that dresses mainly masc! there’s a lot there that people just don’t care to explore.

people just have less patience for the prospit kids in general. not to mention homestuck fans love to be misogynistic and berate jane for stuff they love the men doing, or claim she’s coming between them when she’s not, etc etc. and then because no one was writing fun meta posts about her, nobody ever rereads the comic to grab little scenes or lines to expand the online discussion about her! and then because there’s no discussion about her, people assume she’s boring and don’t go looking for bits to start discussing, which cycles on and on forever until we have the ripple effects we see of that misogyny today. which mostly consists of, “oh i hate jane because she was a villain is hs2”, or, “i know hs2 isn’t canon but i still don’t care for jane because she doesn’t do anything that interests me.” (and she’s only not interesting because of the cycle i mentioned before causing NO ONE to have meta discussion about her).

idk, it’s been a while since ive read so i could be talking out my ass but that’s what i’ve got.

TL;DR: jane is fucking COOL, she just suffers from intentional fandom ignorance. and she’s also a canonically hot, fat, masc woman, so i don’t know what else you could possibly want.

#oh god i didn’t mean for this to get so long #lol i hope this helped???? #jane crocker #homestuck #op #hsmeta #long post

[glow-worms-are-believers]

Heya so this is Damian's pov in the chapter 16 of my fic Hostage situations and other romantic activities based on @iguessthisisanewobsession's prompt! I had it written out and though it doesn't fit in with the main storyline, I figured I'd post it here and link it in case anyone was curious. Feel free to ignore this if you haven't read the fic <3

Hope you guys enjoy:) (Spoilers ahead)

Damian’s head hurt. Zsasz had managed to get in a good hit before Damian had managed to knock him out, or at least what he thought had been a knock-out. He’d been sloppy and now the teen’s head was throbbing. At least, he had seen no injuries on Danny though the other boy had been very pale and looked unwell. 

That was another thing. Danny.

Gotham wasn’t a safe place for civilians, and metas had it even worse. That was true everywhere but in Gotham even more so; discrimination, increased risk of violence, even human experimentation. 

It wasn’t surprising that Danny would want to keep his abilities a secret. But something about the blast, how despite clearly having been instinct, the shot had been so very precise that Damian who had been pinned under Zsasz hadn’t felt more than a cold blast of wind made it seem as if there was more to it than that.

And right now, as he was perched up in the tree waiting for law enforcement, there was nothing to do but to speculate.

No, that was untrue, he thought as he took his phone out of his pocket. He could do more than that. 

He could research. And so he did. 

And found nothing.

Oh sure, there was a blurry picture here, an oblique mention there but no proof of existence beyond a social security number, a high school diploma, and one measly article.

No birth certificate, no social media, no medical file, not even a driver’s license.

It wasn’t that Danny Fenton was a ghost. It was more like he was a half-finished person.

Damian breathed out slowly. 

It wasn’t Danny’s powers that made him suspicious. It was everything else.

An hour later, Damian slid down into the now dark forest and started walking.

Damian looked up to see Danny coming down carefully. Damian steeled his expression into a neutral one, unwilling to let his thoughts play on his face.

“Daniel,” Damian started formally. “You went back to the school.”

That was a point in the boy’s favour; at least, he had not ran.

“Yeah,” Danny answered, too casually. “thanks again for saving my butt back there.”

Damian nodded, but abstained from saying anything further in favour of studying Danny’s expression. He didn’t seem any different but Damian knew appearances could be deceiving.

“So-“ Danny started but Damian wasn’t interested in small talk.

“I could not find a picture of you before your fourteenth birthday,” Damian stated clearly.

“Uh,” Danny stumbled. “Ok?”

“Nor could I find a birth certificate in your name.” Damian continued expecting a twitch, a frown, something.

“Yeah,” Danny answered calmly, waving. “Mom and Dad are terrible at paperwork.”

Alright. If that was how Danny would play it. Flimsy excuses could only go so far. 

“No social media, no bank account. Not even a tax return in twenty years.”

“IRS have given up long before I was born,” Danny answered airily. “And Amity’s not the safest place for technology.”

Damian studied the boy in front of him. He looked relaxed and mostly at ease. A bit confused, a bit tired if anything. And Damian wanted to believe it. 

Yet, both his instinct and his experience were telling him not to, and so Damian forged on.

“Why did you come to Gotham?” Damian asked.

“What?” Danny answered, once again frowning in confusion. “Uh, I’m here for school? I think I told you that.”

This was getting insulting.

“Do not lie to me,” Damian said, feeling something brewing.

“I’m not,” Daniel persisted in a stupid simplistic excuse. “I’m really here for school.”

Damian clenched his jaw, keeping his eyes peeled on the deceptive face in front of him. Damian had come for the truth and he was going to get it. 

“You truly had me fooled,” Damian stated as he slowly started to circle the other teen. “I did not suspect you for a moment.”

“What are you even talking about?” Danny said, but Damian wasn’t listening to more lies.

“Why did you approach me?” Damian asked asking from Danny’s side. Because that was the most logical explanation, no matter what Damian wanted to believe. It wouldn’t be the first time mother or another one of his enemies had sent someone to kill him. He had to consider the possibility. Danny turned to keep himself facing Damian.

“I didn’t,” Danny stressed, his voice almost snarling. Good. More likely to let something slip.

“Maybe so, but you did not turn down the opportunity to do so either.” Damian allowed, because it truly would’ve been a convoluted plan to manipulate Damian into choosing Danny.

“What,” Danny’s voice biting. “Like you left me any choice?”

Damian stopped short at that. He knew he could be forceful and overbearing but he would never force anyone to do anything like that. He was nothing like her.

“Damian,” Danny’s voice rose again, kinder, softer. “Im not sure what this is, and we can talk about it, I-”.

No. This wouldn’t work. Damian wouldn’t let himself be pacified like a child. “You have deceived me,” Damian reminded himself and Danny

“I haven’t,” Danny protested but Damian wasn't listening. 

“You are not who you say you are.” That was the truth. And no matter what he said, Daniel knew it too.

“Yes, I am,” Danny refuted strongly and Damian had had enough. There was one thing Daniel could no longer lie about.

 “Are you?” Damian asked clearly. “Tell me Danny, are you human?”

Danny flinched and Damian’s heart sank even as it confirmed what Damian already knew.

“That’s what I thought,” said Damian, more calmly than he felt.

“What does that mean?” Danny asked, still trying to pretend but Damian wouldn’t let him.

“It means, I am ashamed I let you get so close.”

It means I know, Damian thought. It mean there’s no use pretending. It means, please do not try. 

There was a moment of silence where Damian held his breath. For Danny to finally give it up and admit it.

Daniel took a deep breath before letting it out slowly. And Damian held himself straighter. Daniel opened his mouth but closed it again.

And then finally-

“Please leave,” Danny’s voice came and what was left of Damian’s hope froze over.

So this was it then. 

“Fine,” Damain said dispassionately. “I’ll send you the severance pay before the end of the week.”

“I don’t want it,” Daniel bit out and Damian could feel something ugly within him rear its head, and Damian let it take the place of the coldness.

“Waynes believe in tying up loose ends,” Damian said silkily. “It does not do to for past indiscretions crop up at importunate times.”

“Ok no. I’m done with this.” Danny stalked off, and it welled up again, poisonous and mean.

“I would be happy to give a recommendation to any new employer of yours,” Damian shouted. 

He knew he was supposed to be better than this, but he couldn’t help it.

“Screw you!” Danny yelled back and Damian snarled, stopping himself from punching at a tree or something equally stupid and emotional.

Whatever. He turned away and started walking.

It wasn’t like it had been a real relationship. It wasn’t like it had meant anything. Damian started running.

It had done what it was supposed to do, and really, Damian had gotten out of it exactly what he wanted. 

The thought did nothing to appease the empty feeling in his chest as he made his way back home.

#dp x dc #dc x dp #Might be too soon but I just gotta say that the progression from fake lovers to bitter exes is extremely funny to me #roxpox #roxpoxwrote

[stagefoureddiediaz]

Ok so we get this

and this

And I proceed to spiral about colour theory and costume theory and end up writing and expansion to this post I made about Buck in yellow ochre!!! Sorry y'all, you know what that means - my unhinged colour theory and costume meta's are Back!!!

Lets start by revisiting all of Bucks previous yellow ochre wearing shenanigans!

3x06 the yellow ochre sweater he wears when he gets sent home by Bobby - this does after we see Buck and Eddie making up with each other - a moment when we see Buck learning more about himself and growing (read becoming less self-centred and understanding the concept of being part of a team and recognising that he needs to be better about stepping in with Eddie!)

4x02 - Yellow ochre jumper - first in a video chat with Maddie, Chim and Albert, but then more importantly, when he is in his therapy session with dr Copeland - the whole ‘I hide my true feelings from others’ moment - yet another moment of Buck recognising something about himself. I think this is the most key scene in Bucks yellow ochre wearing - more on that in a bit.

4x03 Bucks yellow ochre t-shirt - a t-shirt that matches the shade of the jumper from above, and a moment when Buck confesses to Maddie that he’s in therapy - about being sad and lonely and wanting to be ‘finer’ 

4x04 - the yellow knit sweater from 3x06 is back (yes it is the same sweater) and this is when Buck has his entire life upended and he finds out about Daniel (kicking us into Buck begins)

4x11 - Buck talks to Maddie and Josh about Sue’s hit and run, then talks to Taylor about Sue. This one is a much brighter yellow than the ochres we’ve seen up to now, but I’m including it because I think its relevant to Bucks arc here (also because it connects into the next time we see Buck wearing yellow - the will scene) the concept of being hit with information that leads to Bucks growth and the nature of most hit and runs not being solved, the perpetrator never being caught and therefore not getting closure on something (this is super relevant I promise!)

Then we have 4x14 and two yellow ochre tops - the first is the sweater, this one is trending more towards orange brown, but its still in the ochre wheelhouse! this oe is all about communication - mostly at Buck - Taylor telling him how stupid he was for climbing the crane, receiving a phonemail from Ana to tell him Eddie is awake, facilitating communication between Eddie and Chris and then Buck communication himself - thinking it would’ve been better if he had been shot. Directly communicating to the audience (as much as Eddie) the inner monologue of Bucks own opinion of the point of his existence.

Then we get the beloved will scene and Buck wearing a yellow ochre shirt, still lighter than the other yellow ochre we’d seen up to this point, with the exception of the previous one which is brighter still. again this is mostly about people communicating at Buck rather than him being the communicator - much like with the previous Jumper. It somewhat plays into the concept of Buck being a passive part of his life rather than actively living it - Kinda hard to explain at this point without the context of the costumes from s5&6. I also want to point out Taylor is in that dark green again here - in the scene when Buck opens the door to the Diaz house.

5x03 gives us Buck in that same shade of yellow ochre (bear in mind we haven’t seen him in any other colour between the will reveal and this scene (beyond uniform!) and here we have Buck pushing Eddie and communicating without actually giving much of himself away - yes he uses himself as an example, but he doesn’t actually open up about himself all that much (this is important - its not the time for that and it provides space for Buck to continue his internal monologue about his self worth) after this he goes home to his loft and we get him communication to a Taylor who isn’t actually present in the space - a symbolic scene that shows that he gets just as much from her absence as her presence (a play on the idea that Buck can communicate better with her when she isn’t actually present compared with when she is - its a juxtaposition of the scene from earlier when they were in bed together and she didn’t listen to anything he was saying, or his wants/needs)

5x04 a scene at the Buckley-Han apartment where Buck isn’t communicating with Chim - Chim is very much communication with Buck about his despair over Maddie leaving - Buck obviously knows where Maddie is at this point, but he diocesan’t take the opportunity to communicate effectively with Chim. so This is yet another example of Buck failing to communicate, while some one around him is clearly communicating and this scene has the addition of secrecy thrown into the mix.

Then we have 5x14 - this one is a bit less obvious - its the yellow ochre and black plaid jacket - its an outlier in that its not solid yellow ochre, but it is again a scene where we get communication - this time BUck is actually the one to do some communicating, but like pretty much always, we don’t get him pushing too much and we see him continuing to deflect from making things about himself - he’s desperate to talk about the shooting and its impact on him, but Eddie resists and Buck backs off. the check here is a nice addition because it shows the concept of cross purposes, but also there is less yellow than in other outfits - the black seems to be ‘devouring’ the yellow - almost like a play on the idea that this was Bucks one big chance to communicate, but he doesn’t take it.

That is the last time we see Buck wearing yellow ochre until the end of season 6 - 6x15 and his date with Natalia to be precise! we’re back to that same shade of yellow ochre and once again we have Buck communicating - but its very much playing into what Natalia what to hear. I don’t doubt that BUck wants to talk about his death and resurrection, but we don’t actually see the conversation beyond the superficial overtures Buck makes. This plays into the suggestion that its about him trying to impress Natalia rather than actually about what Buck needs or wants to say. Its once again Buck communicating without actually communicating. something Eddie picks up on in the later graveyard scene and tries to provide the space for him to open up - which Buck doesn’t take.

The theme continues with the the next Buck/Natalia date in 6x17 - yellow ochre once again, this time an open shirt - again its that same shade, and we see a continuation of the Buck communicate via deflection technique he employs - this scene, like his previous date with Natalia, is more about her and the writers showing us her hang ups/ insecurities than it is about Bucks - beyond showing us that they aren’t actually all that compatible - its kind of framed in the same way as his previous relationships (especially Taylor) - Buck playing into what he thinks someone wants him to be rather than being who he actually is. 

This concept is something we see in pretty much all of the previous scenes where Buck is wearing Yellow ochre, this desire to be what people need him to be rather than who he actually is. there are a couple of exceptions - the first time we see Buck in yellow ochre is probably the only instance where we see Buck being somewhat honest with himself - there is an element of him playing the role he needs to to win back Eddies friendship, but I think its coming from a genuine place and is born out of a real desire to be better - he really did learn his lesson. The fact that the next time we see the yellow ochre used is in his therapy session scene where he literally states that he hides his true feelings from others is a big giant yellow ochre flag waving around telling us that when we see Buck in yellow ochre he will be playing into that idea - and that’s then how it transpires in every subsequent scene where he is in yellow ochre.

Which brings me to this new still

no one can tell me there isn’t an air of conflict about that scene - the dark cool tone of the image suggests a coolness to the room - that idea of the cold shoulder or the temperature dropping when there is conflict between two people. their body language is also adding to that vibe - Chris turned in on himself, not sat with Buck, the space between them.

Whatever this scene transpires being about, based on what we've seen with Buck wearing yellow ochre, we can assume its going to continue to play into this idea of Buck not being fully truthful with people and fitting into the role he thinks people want him to pay rather than being true to himself.

I do want to add to this theory by looking at Christophers shirt as well. The grey/ yellow combination is a bit reminiscent of Breaking point (the episode that really is the gift that keeps on giving) becasue we get Chris in grey and Eddie in tan - that is yellowish toned whilst not actually being yellow

There isn't a good screenshot of them together, but the placing of Chris and Buck in the new one has echoes of Eddie and Chris in that scene (one that is interestingly enough playing into the idea of changing family dynamics, but also the moment before and the one that happens afterwards at Bucks loft, directly placing Buck into a parental role (as an aside the idea of Buck being a miracle worker plays into the theme of Eddie looking for magic, just saying!))

Anyone want to play a game of whose shirt does this look like??!!!

Oh you do! well what if I leave these two pictures just here...

yes, yes that is a Chris sized version of that shirt - you know the one Buck was wearing when he and Taylor talked about complicated family dynamics and about telling 'other peoples stories because I hate telling my own' you know that scene about playing a part and not being yourself around people you're supposedly close to! Yes That scene - or how about the scene which happens to be the last time we saw Buck in Chris's bedroom, where Buck talks to Eddie about complicated family dynamics, about needing to have the right outfit on for the occasion, the scene where they talk about retirement, oil and Buck is playing with a dinosaur! yeah see where I'm going with this! Chris wearing a grey shirt that similar to Bucks is Paralleling those scenes - so playing into the idea of history or of thing being outdated and needing to change, of dressing for the occasion (an allegory for playing a role - to fit in to whatever environment you're in rather than being your true self) and most importantly of complicated family dynamics - suggesting that there may have been some change in the dyamics - perhaps this will play into the will (also colour paralleling the will scene as Buck is in yellow ochre and the breaking point scene with Eddie in a yellowish colour and Chris in grey) and perhaps Chris discovering Buck would be his guardian in the event Eddie isn't around. I mean we'll have to wait and see for the actual context, but I will eat my hat if the season 7 scene isn't playing into Buckley-Diaz family dynamics in some way!

Back to this still

I keep flip flopping on if its Buck or Bobby, but right now the lack of grey hair is making me lean towards it being Buck.

This is a still of the back of Bucks head from his coma dream for comparison (blurry as hell as he's not in focus but it looks enought like the same shape of hairline and of Olivers ear for me to feel like its more Buck than Bobby!

I think the shirt is what is throwing me off though because its just so not a typical Buck shirt (excepting coma dream Bucks!).

I've gone back through my notes and I just can't find any examples of Buck wearing this kind of patterning or shirt before, the closest we get is that hideous shirt he is wearing at the hospital after Kameron has given birth

The only thing I can do is scream into the void about check theory because check does't bode well for people - they always end up in the middle of the drama (see my check theory posts linked on my pinned post for more) and while they come out the other side (99% of the time) Buck in check for that scene in 6x18 pretty much doomed his relationship with Natalia (its specific to her and not C&K's baby as Buck wasn't wearing it when he delivered it!) and as that shirt in the still is very un Buck like, has not only yellow ochre in it, but also its a white base (and we all know buck in white is a bad sign!!) and its check patterned - my theory is that this scene is connected to Natalia in some way - either Buck is not being true to him self in more than one way - that things are going to/have come to a head for their relationship (my kingdom for a reverse of Buck to Eddie about Ana in 5x03!!!) and lead to a pretty big change in some way (fingers crossed for Buck to end it and then finally break down and deal with his trauma!!!)

Some other things about that shirt - I've brightened it up in the picture below - the colour combination - the green blue and yellow ochre are giving me call backs to coma Buck (another reason I think it might be connected to Bucks unresolved trauma around his death and Eddies absense in his dream)

Then there is the burgundy stripe in combination with Eddies hand placement and the fact Eddie is wearing a denim shirt - its very Tsunami call back (even the white plays into this as well as Buck was in white when he saved Chris) -

I'm quite probably clowning hard at this point, but the fact we've got Eddie in denim again (not something he wears all that often) in a scene where he puts his hand on Bucks shoulder in that way and with his Christopher watch so very prominent - we'll I might be feeling a certain way about it.

It would make sense to play into that story arc - after all - the opening of season 7 is very much centred around a big water based disaster - its got to bring up a few things for the two of them. If it is related, Eddies Denim being darker at this point would be a nice play on things - the idea that there is more deepness - more depth to his relationship with Buck than there was in early season 3 (it even calls back to flash back Eddie in 3x16 - he is wearing dark denim when him and Shannon fight and Chris wakes up)

Ok thats enough rambling from me! Hopefully i have made a tiny bit of sense! of to go back to screaming in the void now!!

tagging a few people who might be interested! @extasiswings @copyninjabuckley @oneawkwardcookie @spotsandsocks @mandzuking17 @xxfiction-is-my-realityxx @theladyyavilee @mistmarauder

#I'm being totally fine and normal about this #I missed writing about colour theory and costumes!! #We back baby #kym costume meta #costume spiralling #colour theory #kym colour theory #911 spoilers #911 abc #evan 'buck' buckley #eddie diaz #christopher diaz #is it buck is it bobby? who knows!! #but I think its Buck! #buddie #I'll be over here spiralling!

[somehow-a-human]

Oh look it's another crack theory!

Crowley is the current supreme archangel.

DO NOT ASK NEIL ABOUT FAN THEORY

Okay so hear me out, and look, I SAID CRACK! I have fun crack theories pop in my head every once in a while and I'm gonna write em down. It's not cannon with any of my other ideas or metas it's just *a thing*.

So! If you want to follow me down a wormhole of extrapolation, do so below!

"There is always a supreme archangel!"

Michael said it not me! Blame her! But look, that line is a choice, and it feels there for a reason. Maybe there IS always a supreme archangel. Maybe it's not a job you're hired for, maybe it's something that's inherited like royalty, and transfers automatically.

The 25 lazarii miracle.

Okay yes, I think it's just love and angel/demon working together is more powerful than apart, shades of grey, all that. BUT nobody else thinks that. Heaven and hell do not think that. They do not think Az and Crowley should have been able to do that miracle by any means. So I'd assume they're scratching their heads, and Aziraphale does tell the Archangels initially that he performs the miracle alone, which I assume would have then been relayed to the Metatron.

"A miracle of enormous power happened last night, the kind of miracle only the mightiest of archangels could perform" ... "How do you know I didn't do it?"

Let's say I'm right, look I'm humoring my own theory aren't I? Does Crowley know? Would he be aware of what happened? Would he feel it? If he did I could definitely see him keeping that card close to the chest, but still being a snarky ass to Shax.

Crowley opens the file in heaven.

So he's at least a Throne or Dominion or above, probably even higher up than that. He says they never change their passwords, and if that's true what else don't they change? What else have they forgotten? Bureaucratic nightmares like heaven often overlook so many things, who's to say a certain high up angel wasn't taken off all the books fully after they became a demon?

Why does the Metatron actually want Aziraphale back in Heaven?

I mean? Sure he and Crowley averted Apocalypse Part 1 last time I guess that's why, but couldn't there have been an easier way than a faux job promotion? I'm thinking: Gabriel is gone, the position of Supreme Archangel is automatically inherited, none of the Archangels in heaven are it, Aziraphale is suddenly accidentally performing a 25 lazarii miracle all by his lonesome? What if the Metatron thinks it's Aziraphale who has been chosen for the role of Supreme Archangel. But there's one thing he's over looked...

A clerical error.

What if it's not Aziraphale but it's Crowley. Crowley was formerly a high ranking angel before the fall. He's still able to access files in heaven, maybe they've forgotten to completely erase him from all the books and databases, and he was next in line, or maybe God just has a funny sense of humor. Angels and demons alike seem to just automatically listen to Crowley this season and do what he asks, Shax calls him "Arch-traitor" he seems like he might just know a bit too much more than he should, and the scene during the trial where Gabriel says, " However I am the only first order Archangel in the room or ya know the universe." Then the camera cuts directly to a close-up shot of Crowley? It's a bit too foreboding in my opinion to be nothing.

Final Thoughts.

This comic is posted on Whickber street between Aziraphale's Bookshop and the Record Shop. Neil had asked that it revolve around the horrible crime of stealing halos. When I see this comic, I can't help but think that the original halo owner is very James Bond, a character our favorite snake like demon loves to portray. I wonder if Anthony J "just a J really" Crowley chose J for a reason more than just a J (maybe........... Jophiel?), and I wonder if he really was fully deserving of his fate during the fall or if there's a bit more to the story.

#good omens #good omens 2 #good omens meta #good omens theories #good omens clues #crowley x aziraphale #aziraphale #crowley #david tennant #michael sheen #good omens clue #good omens theory #ineffable mystery #ineffable divorce #ineffable husbands #ineffable idiots #ineffable spouses #ineffable fandom #good omens speculation #thank you for letting me write out my crack ideas and post them here with little to no repercussions #sometimes i barely believe the things i write down #is that problematic or is that just being imaginative?

[chefkids]

Spoon Theory

This is arguably the single most important The Bear meta post I will ever make so please bear with me.

The first spoon we see in the entire series is when Carmy takes Sydney's spoon to try her stew. This is right after he cut his hand from not being able to find his sharp knife, and before he has to meet with Natalie to get Mikey's jacket, which was stressing him out. She "gave him a spoon" and a bit of positivity when he needed to calm down and get some energy by knowing at the very least Sydney can cook well.

Needing a spoon is needing help. When he hands over the brigade to Sydney he is waving around spoons the entire episode, when she really needed his help and his "spoons". Later on Sydney is not afraid to just ask him for his help.

With the risotto she gave him a "spoon" that would help the restaurant, that brought in a good review and customers, but he didn't have enough of his own "spoons" to deal with it as he was stressing out over the window that just got shot through and the IRS needing the missing tax returns. Right before trying the risotto Carmy had told Richie he is afraid of something good happening. He is afraid of Sydney and him doing well, because the better it gets the more it will hurt him when something goes wrong. That is why he keeps self sabotaging the restaurant and doubting Sydney.

After Sydney quit, she is still using her spoons for mental energy to make sure Marcus is okay and to try and figure out her next steps career wise. Carmy grabbed a spoon to open the tomato can lid, which he really didn't need because he could've just used the can opener, and then found the money. When he finds the money they both know they would be fine on their own, she could find another job, he could fix up The Beef. But they still need each others emotional spoons to achieve their passions, so he reaches out and she comes back.

In Season 2 she did need his "spoons" to help create the menu and decide on the details for the restaurant, but he barely gave her any because he was still so caught up in his past trauma and the literal and metaphorical forks in his life.

Fixing the table really didn't physically need more than one "spoon"/person. But he needed her there to work through his mental block. With the inspiration food tour, she did it on her own and she didn't physically need him for it, she needed his emotional spoons.

When they are not communicating well with each other and Carmy is trying to reach back and be involved again, he gets as close as he can to her spoon without actually using it.

And now the dark side of spoons.

The originator of spoon theory has lupus and first came up with this theory at a restaurant to explain what it was like living with the condition to a friend. They could've easily said Sydney's mom died of cancer or an accident or anything else. But this is all so intentional, out of all the things it is Lupus. I don't want Sydney to be sick as much as the next person, but Lupus is a chronic autoimmune disease that has higher likelihood of developing when you have a family member with it, and can be triggered by environmental factors such as stress. It is an invisible illness and Christine's own handle is butyoudontlooksick, which could really explain Sydney and what she has going on behind her walls that people can't see. She has been a rock to so many people and over exerting herself, but there might come a time soon when Sydney will genuinely need other peoples "spoons", especially Carmy's, because she's all out.

Now that Carmy said he is choosing to give Syd his focus aka his "spoons", will he actually be able to follow through?

Read The Fork Theory next

Read The Knife Theory

#spoon theory #the bear meta #the bear #sydcarmy #sydney adamu #carmen berzatto #chefs kiss #syd x carmy #platonic and messy #charged and sexy #carmy x sydney #christopher storer #joanna calo

[beautifulhigh]

It just occurred to me that the polo scene doesn't get much love as it should. I know it's very short but just the thirst in Alex’s eyes, the way you can see his mouth dry while watching Henry ride that horse and his oh so sexy smile. I feel like that scene required a major dissection, and no one does it better so I came calling.

You know what? I'm doing this one now. I know I said I would do a meta on Henry Fox and I would do a meta on the New Year's Eve party but this is in my inbox now and yeah, let's talk about the polo scene.

(I'm also doing this now so I don't have another thing on my To Do pile, and your kind words made my shitty day a little better so thank you.)

Short scene, not a short meta.

In the book when he and Henry are in his bedroom, Alex has this little moment of clouds parting, sun beaming, angels chorus revelation:

In an instant of sudden, vivid clarity, he can’t believe he ever thought he was straight.

And while movie!Alex doesn't have the same bi awakening that book!Alex does. this is very much his moment of "oh I am very not straight at all" and that is valid of him.

(As this is a Jen meta, we shall also be talking about everything else because you do not analyse a text in isolation.)

This interview talks about the editing of the polo match:

Nick [Moore], my new editor coming in, took a look and he says, “I wanna try something with that polo match.” He spent a weekend of his own time doing something, and then he was ready to show me. He sat me down and said, “I’ve done something crazy.”

And we went from filmed scripted scenes and a lead in, to "bagpipes intensify" and it works SO well for where these boys are in this new stage of their relationship.

Our establishing shots are of the teams, the horses, the uniforms. This is Henry's world and Alex is about to step into it (which is a reversal of Henry at the NYE party - I swear I will write that meta once I have all the gif posts I want to link to) and it's all quick cuts and sharp transitions and moving shots. The pace has been set for Alex to enter.

We pick him out in the crowd but he's lost as quickly as we spot him. He's one of many here and it's all too quick to stay with him.

Firstly, you will never convince me that he didn't pick the tightest trousers he could find. Henry's comment about him being a mouthful is foreshadowed, right there.

ANYWAY

He walks in, he's looking around, he's doing up his jacket as a form of protection. Alex is the proverbial fish out of the proverbial water (and I have a meta about water if you're interested) and we're straight back in with the quick edits. Horses, polo sticks, this is not a game most people know how to play. Alex certainly doesn't. He's doing up his jacket and he is uncomfortable.

He is not a stranger to a suit, and that is certainly not something that is ill fitting. It is circumstance, not clothing.

And then we get our first clear shot of Henry. Only it's not clear, not at first. He literally comes into focus.

Stick aloft, mouth open, like he's a walking riding metaphor.

And Alex's face changes.

Yeah. He is definitely not straight.

From then on we stay with Henry. We, in Alex's viewpoint, have found him. And so we track Henry through the game and it's just generic horse legs if we're looking at anything else. The only player we/Alex see is Henry.

Here, Henry is leading. Going in first, checking it's clear, knowing Alex will follow him. Henry leads, Alex follows. Into the garden, into the bed, into the sexual component of their relationship. Alex admits to Henry right from the start that this is new to him:

“I’ve, uh,” Alex begins. “I’ve never actually done this before.” “Alex,” Henry says, reaching down to stroke at Alex’s hair, “you don’t have to, I’m—” “No, I want to,” Alex says, tugging at Henry’s waistband. “I just need you to tell me if it’s awful.” Henry is speechless again, looking as if he can’t believe his fucking luck. “Okay. Of course.”

When it comes to being with a man? Henry leads, Alex follows.

And then the pacing and editing kicks off. We intercut to the tempo of the bagpipes between the match and the hook up and Henry is leading the charge on both.

He's in charge and Alex is LOVING it:

Turns out being on the receiving end of Henry’s royal authority is an extreme fucking turn-on.

This is risky and the most dangerous thing they have done so far. Amy walking in on them in the Red Room is one thing - book!Alex is VERY thankful for the staff NDAs when it comes to what they know about him and Henry - but neither of them care here. And Alex is very much letting Henry take the lead and set the pace.

Which, given how long Henry has wanted Alex, wanted this, and how he's not able to live and love (at this point) as openly as Alex is, giving Henry this control means that not only can Alex continue his education in this mlm era of his life, but he's giving Henry all of the freedom he can. God Bless America or something.

We intercut the make out scene with shots of things being hit, the hard slamming of one thing against another, of riders in saddles. The hands may be a metaphor for sex in the Paris scene but we have it here as well.

Alex is fully on board by this point and he's not letting Henry set the full agenda. In his White House bedroom we got the scene of Henry going down on Alex (and there is no way that it was a one-way exchange given how long they were there) so now? It's his turn.

My favourite editing choice?

We then cut to Henry's arse bouncing in that saddle. If the Paris scene is making love? This is them fucking. Henry is bouncing away, riding for all he's worth, chasing down his singular aim with precision and determination.

It's innuendo at its finest.

I love this shot. We're looking up at them - we're just like Alex who is now looking up at Henry due to his new vantage point (#NoLongerTaller) - and we see Alex is fully crowding up into Henry's space. And they are right by the door. There is no cover, no escape. Anyone coming in has fully caught them. Please let there be a PPO or a Secret Service be just outside. Please. For their sanity if not mine.

But even if there isn't for some insane reason, they don't care. They are so lost in each other, so caught up in this moment, that they aren't FSOTUS and the Prince Of Wales. They aren't boys with status and expectations. They're just two consenting adults who are testing the boundaries of what public indecency actually means.

They are really going for it now. Henry's arm is tensed with the effort of keeping Alex close, his hand is splayed on Henry's back to give him contact with more of him. They are not letting go. Diving all in like it's a nod to the Olympic event where they met in the book.

And when they come up for air it's because Alex is... well... about to go diving.

Those fingers make VERY quick work of the belt and what he is doing with his hands and those fingers is further evidence in the "this is them fucking" category.

And then the frame which I'm guessing inspired Cordelia's ask to me:

LOOK AT THAT FACE. Look at those fucking eyelashes. But Alex is wanting and he is wanting hard for Henry. Pun intended. He's got a plan for this, he's got a To Do list for those Very Bad Things he promised/threatened Henry with all those weeks ago.

And it will have been weeks. The State Dinner was around February time based on the texts (end of January at the latest) and then Henry says the polo match is "next month" (which would put it end of February, early March because we would not say 'next month' if it were next week, regardless of when the month starts) and so it's been weeks since they hooked up in Alex's room. Weeks of having to just text and email and maybe venture into video calls.

None of that would compare to being together.

This is the first time that Alex has gotten his hands on Henry since his bedroom and he's desperate to get more than his hands on him.

And this shot as Alex pulls Henry's trousers down is fucking pornographic. Matthew López, did you direct Nick to act like this or was it his choice? Go watch his expression as Alex is pulling the offending clothing out of the way and tell me that this isn't pornographic.

And then we cut to the not-at-all subtle shot of Henry well, making the shot. With ease and power and the ball shooting out of frame. Something something orgasm metaphor something release.

There's even a little wisp as he makes the shot. If this post isn't flagged for mature content I'll be surprised.

Next shot?

Congrats on not getting caught, on the sex, on the most smut-filled-while-almost-fully-clothed-sex scene I've ever had the joy of frame-by-framing through.

Alex is doing up his tie again but he's not uncomfortable. And Henry is so fucking happy I could cry. Because he just hooked up with this guy, in semi-public, and got away with it. They are firmly in Henry's world here, a world where he can't be out and proud, and he got to have something he wanted. And, maybe crucially, no one knows about it. His privacy is intact.

But more importantly, this thing he's got with Alex is something. It's not a one night stand. Alex came here specifically for him, because he asked him to. Because Alex wanted to see him, be with him. This wasn't an obligation, this wasn't something set up by anyone for show and to do damage control. This was for them, and them alone.

Look at these smug bastards. Look at them. Gettin' their rocks off and making puns about being hungry and eating like they didn't just devour each other.

BUT

I gotta bring the feels here 'cause it's me.

Henry attended the State dinner because he was expected to, because that was in place before the New Year's kiss. It was an obligation and in both the movie and the book he had been ghosting Alex. And then Alex grabbed him in the Red Room and they hooked up and at the end of that scene Henry nervously asks Alex if he wants to be his guest at the polo event. Alex doesn't actually say yes - he says he doesn't know how to play polo, there's a comment about it being safer if he's on the sidelines - but leaving aside any fear that he would stand Henry up this is the first time they have made plans with the intention of seeing each other, of being together in this way.

This is, for want of a better term, kinda like a date.

Alex turned up, Henry put out, and they're very much committing to seeing where this path will take them. (Forever. It'll take them to forever.)

Alex isn't straight, Henry is very much in love, and they're embracing that giddy phase of a relationship where you just can't keep your hands off each other. And we fade from this to Paris where they're on another kind of date and then there's another kind of sex scene and it's a speedrun of their relationship on screen like they weren't indulging in foreplay with all the text flirting.

Which, by the way, don't think I didn't notice that Henry's jersey number was 4. Four-play indeed.

(Thanks for this, Cordelia, I needed something like this to soothe my brain.)

#jen answers stuff #i-cordelia #firstprince #alex claremont diaz #henry fox mountchristen windsor #prince henry of wales #red white and royal blue #rwrb movie #firstprince meta #overthinking jen is overthinking #rwrb #otp: history huh #long post

[melvisik]

Ok, we all know the Metatron needed Aziraphale and Crowley separated. It's a scene that’s launched a thousand metas and speculations like the Coffee Theory and Aziraphale Lied. So now, here's a slew of what are undoubtedly reiterations: There’s the distinct impression that Mr. ‘To-speak-to-me-is-to-speak-to-the-Almighty’ Metatron has gotten a little too big for his britches. Various reasons could account for this - maybe he thinks it's impossible for him to do wrong because he’s literally on the side of the angels. Or he’s been doing this so long hearing radio silence, he’s gotten into the mindset that the Almighty has somehow chosen to disappear, like that sense of all-importance when your boss has been gone for an infinitely long time and you’re left calling the shots. There’s also a tiny probability that Metatron has ‘vaulting ambition’… In any case, the Metatron is not shy about pushing the agenda, using anything from bribery to authoritarianism to accomplish it. He’s downright dismissive of Michael, Uriel, and Saraqael and condescending towards Muriel, people he knows he’s already got well under his thumb. With Aziraphale however, he changes tactics- bringing him coffee, the illusion of a hefty promotion, and throwing in Crowley’s reinstatement as the clincher. There’s been so many beautiful posts and analyses illustrating Metatron’s deviousness, describing his actions as exceedingly exploitive. There’s a high probability that he manipulates Aziraphale not out of the belief he'll be an asset, but the fact that Aziraphale and Crowley together is a liability. The music over that dark side-eye carries a foreboding implication:

The Metatron does not care for Crowley.

Many proposals have been offered as to why this is, such as the theory that it was the Metatron who cast Crowley from Heaven for asking too many questions. Or perhaps the Metatron doesn’t necessarily see Crowley as a singular threat, but his influence on Aziraphale is another matter? Or it might be their influence on each other that his heckles raised. We've all seen it - where Crowley was ready to bolt when his mistake was caught and Armageddon seemed inevitable, Aziraphale remained steadfast in his determination to stop the War. But when Aziraphale gets it into his head that following a cause blindly is the best thing to do, Crowley snaps him out of it. They accomplish their goals together. Looking back over it, the predominant thing Aziraphale and Crowley did to help stop Armageddon was give Adam the pep talk he needed to defeat Satan. Before then, the Metatron believed he had just another good little angel in Aziraphale, a featherbrained minion who did as he was told. But then Aziraphale was gradually tempted by a demon, not necessarily into doing wrong, but into disobedience. Perhaps that is what Crowley represents to the Metatron, and the Metatron needs to be rid of it. The mix up was an honest mistake, Arthur Young being at the right/wrong place at the right/wrong time. But, of course, who was the other party involved in that mistake? Who first got it into his head that Armageddon should be stopped? Who held time to give our heroes a moment of reprieve for that pep talk? What if all the angels suddenly decided they didn’t want to obey anymore, like Aziraphale did? What if they follow his example? What if they don’t want to fight? The Metatron's got to nip that rotten apple in the bud…

Heavens, we can't have that now, can we? "The point is not to avoid the war, the point is to win it." Well, that old chestnut didn't exactly work on Aziraphale, did it? The Metatron can’t order Aziraphale about anymore as if Aziraphale were a diligent foot-soldier. Both Aziraphale and Crowley have indeed gone native, adopting the most human thing of all: free will. Now, from a rudimentary understanding, neither angels nor demons can technically force a being with free will into doing anything. But they can persuade them one way or the other. Metatron knows this, and by god, he is good at it. Dozens of posts explain just exactly how he does this reaching right into Aziraphale's heart and fears. And in true angelic fashion, never does he even bother to acknowledge that Aziraphale " ...[doesn't] want to go to Heaven," or advise Aziraphale to consider what Crowley would want when presented with the opportunity to restore his ‘divinity.’ It's almost a parallel with Sitis - does she want to give birth seven more times? It doesn’t matter. “God” wants Job to be rewarded for loyalty, and Sitis was a conduit for that reward.

Another parallel between the story of Job and Aziraphale is an upstanding individual who staunchly wants to follow the Almighty's path, but he has a companion who’s more on the independent-thinking side - when something they care about is threatened, they acknowledge Heaven’s cruel treatment. The distinction here, however, is Job had the chance to speak to the Almighty themselves, not just the ‘mouthpiece,' and he had a decent pair of guardians looking out for him. Crowley and Aziraphale did the right thing by him and his family in keeping the children safe, while the other angels (and most definitely the Metatron) were content to let them die. It’s like neither angels nor demons (barring two… well, four now) have any concept of emotional connection. But the Metatron does understand connection, and for him it's a magnificent tool. He deliberately uses it against that once good little foot-soldier who’s gone AWOL. Not once does he try and convince Aziraphale that he’s strayed, but he maneuvers him into thinking that he and Crowley going back to Heaven is his own choice. Aziraphale likes doing the righteous thing, actually having an impressive work ethic when it's something he believes in, and what could be better than working as top boss in the Head Office of the Good Place? Aziraphale might see himself not only being the source of 'doing good,' but the one who can do the best thing there is and make changes for the better in Heaven itself. As discussed many times, the Heaven Aziraphale thinks he could create is the epitome of goodness, and, most of all, it can be a safe space for Crowley and him to be together. Aziraphale already assumes that this is what Crowley would want, and that Crowley’s retains ‘unhappiness’ as a Fallen due to no longer being an angel. The Metatron knows otherwise; not one person in the fandom believes he didn’t already know the outcome- that Crowley would say no. Again, there are so many brilliant posts highlighting why the Metatron had no intention of Crowley becoming an angel again. There’s the question if he even can. In fact, can the Metatron or any angel decide if an angel will Fall or a demon…er, Rise? That might present an alternative reason as to why Gabriel was demoted instead slated to Fall, because Metatron technically doesn’t have that kind of authority. In any case, it’s a ‘bluff’ that Aziraphale falls for hook, line, and sinker, and this time not even Crowley is able to convince him to stay. Now Aziraphale is driven by a cause he believes in, and perhaps he assumes that once he can prove to Crowley that he can change things in Heaven for the better, Crowley just might change his mind. By the same token, Crowley also might be holding onto that little shred of hope that Aziraphale will eventually come to his senses. It isn’t the first time the Head Offices have had them separated after all, and for all we know it’s not like it’s suddenly forbidden for them to talk to each other (though it probably won't be encouraged either). The Metatron, however, perhaps intends for the very opposite – to have Heaven change Aziraphale, which can only be possible without Crowley. Not that Aziraphale matters to the Metatron in the Great Scheme of Things (beyond his stubbornness being a force of nature), but at least he won't be fighting against the so-called Great Plan.

Then there’s the theories on the Metatron's motivations for this - for example, he could be concerned with how powerful Aziraphale and Crowley are together. And whether or not this popular theory proves to be true (though it carries a ton of weight), he can’t risk an interfering tag team preventing Armageddon again anyway; the Second Coming is approaching, and the Metatron is trying to be ahead of the curve this time. Gabe and Beez? Probably aren’t his top concern since they just want to run away from it all, not exactly the most active threat to the Great Plan. In fact, maybe the Metatron took into consideration the small chance that Aziraphale might just take Crowley up on the suggestion of going off together (prompted by the Archangel job offer in the first place), and the problem would be solved regardless.   It's also likely that the Metaron expects Aziraphale can be pressured or swayed back on board. With Aziraphale implementing that kind of determination on the side of Heaven again, maybe this time Crowley will retaliate or even abandon Earth altogether out of anger or heartbreak. Either way, the Great Plan will go forward. It's a win-win in the Metatron's mind. Game. Set. Match.

Edited for clarification.

#good omens #good omens 2 spoilers #aziraphale #crowley #ineffable husbands #crowley x arizaphale #good omens 2 #neil gaiman #good omens spoilers #go2 #go 2 #go 2 spoilers #go2 spoilers #david tennant #michael sheen #Metatron #derek jacobi

[embracing-the-ineffable]

How to tell the "three" Good Omens Bentleys apart, without talking about color

There's some controversy about the s1/s2 Bentley "actors" in Good Omens, and the Bentley's mid-s2 transformation into "our car" during Aziraphale's trip to Edinburgh.

So, here's a handy guide to telling them all apart, and I'm NOT going to talk about the controversial color changes. (If you want the full details with a million screenshots, look at my earlier post here.)

*Please don't ask Neil about this! He's already said what he wants to say; like any good magician in the middle of their act, he's not going to spoil the mystery before the s3 magic unfolds*

Here's the s1 Bentley "Mary", after Adam reboots reality, next to the s2 initial look for the Bentley; underneath is the s2 new look for the Bentley after Edinburgh, aka "our car":

Keep in mind that the s1 Bentley is a different actor/model, a 2-door named Mary, and the s2 Bentley is actually a 4-door actor/model. In the first half of s2, it's cosplaying as Mary, and in the second half of s2, it looks like Our Car. How can we tell the difference?

Mary, and Our Car dressed as Mary, have the same hubcaps. They have one door handle on each side (as a 2-door car). Our Car as itself has different hubcaps and two door handles on each side (as a 4-door car).

Yes, I know about the half-car/cab-only set that was used to film some scenes in both seasons. It doesn't have hubcaps at all, so it really doesn't explain new hubcaps halfway through s2:

Can we tell the difference between Mary and Our Car cosplaying Mary? Yes:

Because Our Car is actually a 4-door, no matter how it's dressed, the backseat side windows are longer than actual Mary's backseat windows. Our Car's front and back side windows are the same size. Compare the orange lines I added above.

And, when Our Car dresses as Mary, there's an onscreen white line down the side near where the hinge would be if the car were a 2-door, but it's not underneath the frame between the two side windows. When Our Car looks like itself, the frame between the side windows is in line with the door hinge. The frame and hinge are also aligned on Mary in s1. Compare the vertical green lines I added above.

Oh, and remember the s1 cab-only set? Its backseat side window matched Mary and thus is shorter than the front seat window. I can't find ANY shot in s2, inside or outside the Bentley, with small backseat windows. Why? Because they must have updated the cab-only (physically, or with VFX) for s2 to match Our Car, despite rumors to the contrary. Again, compare the orange lines:

What about the Bentley in the s2 flashback to 1941? Take a look at 1941 on top of s1 when they literally run into Anathema:

Do you see it? Yep! It's the s2 actor/model in 1941, because the backseat side window is as long as the front seat side window. (That makes sense; as far as we know, GO weren't able to rent Mary again for any s2 filming.)

And - there's another difference! The side windows in s1 on Mary actually look "3-pane", with a small venting window at the front:

Closer, with my lines to highlight:

Our Car from s2 doesn't have those small venting windows at the front. And what about the windows from the inside? Here's s1e2 Mary above s2e4's Our Car in the flashback to 1941:

And with my lines for emphasis:

I hope this is helpful! I meant for it to be short, but, well, I had things to say.

PS - if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!

#good omens bentley #Bentley transformation #Good omens analysis #good omens meta #ineffable mystery #good omens clues #good omens season 2 #good omens 2 #aziraphale #crowley #our car #renew good omens #good omens

[pepperf]

A love letter to the co-conspiritors

They have many names—beta reader, friend, Oh Fuck You—but you know who they are: they're the person who is as rabid as you about a ship or a character, the one you DM with your most twisted headcanons, the one who agrees that YES, he SHOULD be tied to a chair and slapped in the face—that she SHOULD be allowed a little tragic backstory, as a treat—that they SHOULD be roommates who are secretly pining for one another...the one who hashes out with you, at past midnight, how soon is reasonable for people with superpowers to have sex after one of them has been shot in the leg.

They’re the person who reads your fic before you send it to anyone else, and raves with you about that plot point that you COULDN’T WAIT for them to reach, or points out where you’ve forgotten that they were at the bar, not the library, so you need to remove the reference to book stacks, or pokes you to finish the goddamn next chapter because they want to read it, okay?

Fandom would not exist without them. They enable and encourage. Some of them are also fic writers, and you get to enable them right back. Some of them create fan art, or meta, or text post edits, or run prompt fests, or edit wikis...some of them are simply just as in love with the same thing that you are and want to feed the squee.

If you’re lucky enough to have someone like this in your life, you’ll know how much impact they have. It’s different to getting comments and kudos (wonderful though those are!), because they come in before the fic is finished, sometimes even before it’s started, and say ‘yes, do it!’. The fact that I've written so much for Community and The Umbrella Academy is completely down to @bethanyactually and @wheresmytowel respectively, and I count myself incredibly lucky to have them both in my life (and not just for all this, but also because they’re both incredibly lovely and smart and fun).

It was Fanfic Writer Appreciation Day yesterday (Aug 21st), and it made me think that we should also give a shoutout to the co-conspiritors, because without them, an awful lot more fic writers would be stress-scrolling through tumblr instead of working on their WIP, and there’d be so much less fic in the world.

#shoutout to the enablers #fanfic writer appreciation day

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 3: The Story of the Magic Show in 1941

Let me at first put a small index for you here, since this is a three part meta and you might want to read the posts that precede this one:

Part 1: The Story of Job

Part 2: The Story of wee Morag

... and now: Welcome to the final Part 3! We made it! Or well, we will have, soon-ish. Because let me give you a fair warning: This one is definitely the longest one out of the three. And by long I mean literally almost 5k words long. Mainly because there's a lot to work with since the 1941 minisode is less mini and more the entirety of S2E4 and also, in my opinion, needs a lot more context than the others. But! That shan't discourage me, as I am currently stuck in bed with a bit of a sore throat, a steaming cuppa tea and an entire afternoon to spare.

So, for the third and final time in this meta series: Let's get cracking! Under! The! Cut!

I shall spare you another summary of the points I have made so far and, should you not have read or remembered them, I kindly redirect you to the end of Part 1 and the beginning & end of Part 2, where I summarize most of it. Don't worry, the link to this post will be in both of them, so you can hop right back once you're done!

On commence with some needed context.

I think one of the most important things to point out at the very beginning here, is that unlike with the other minisodes, we don't have a direct indicator that this is once again one of Aziraphale's memories or diary entries. In the Story of Job, we see him read the part in the Bible and actively immersing himself into the flashbacks (so deeply, even, that Crowley leaves in between, since Aziraphale seems to be so intensely lost in thought). And the Story of wee Morag is being narrated to us by past Aziraphale's diary entry.

All we see before the start of this episode's minisode, however, is Aziraphale driving the Bentley before Shax unconsensually hitchhikes with him and then leaves again. The title squence rolls and we're in London, 1941. And once the minisode ends, it's also not with Aziraphale looking like he just remembered something or a shot of his diary, but instead with present day Shax going to Beelzebub to request permission for the attack on the bookshop and then Aziraphale arriving in Soho, back from his trip to Edinburgh.

It's safe to say, therefore, that these two somehow indicate why and when the 1941 flashback starts and ends the way it does. And they do! You just have to listen and look closely, because the hint of whose memory this is, is a bit more subtle. Let's take it bit by bit.

Shax reveals herself to Aziraphale, catching him off guard. ("You have the advantage on me." "I do, yes.") She then go on to introduce herself as "former admissions demon" and ...

"Now, a Hell's ambassador planner, potentially plenipotentiary* to this corner of the planet. Replacing the demon Crowley."

*(Thank you for pointing this subtitle error out in the comments, @odonataanisoptera!)

At first sight, this might seem like no new information. We already know this, we have seen Crowley and Shax talk multiple times, we know Shax is Crowley's hellish successor and we know Shax now lives in Crowley's flat in Mayfair and, due to that unfortunate circumstance, Crowley in his car. You know who doesn't know this yet?

That's right: Aziraphale!

Neil himself confirmed that the reason why Aziraphale hasn't yet asked Crowley to move into the bookshop is because he doesn't know Crowley is living in his car! Which also indirectly implies that he hasn't told Aziraphale yet that he's no longer Hell's representative on Earth! Massive communication issues aside, this means that four years after Armagedidn't, Aziraphale is realizing for the very first time that Crowley is no longer officially employed by Hell.

Which is quite big news! We don't really know what Aziraphale's exact state of employment is with Heaven, but we do know from Crowley saying so (to Shax, again) in S2E1, that they no longer talk to him and he no longer reports back to them about his work. We can therefore deduct that he isn't actively operating as Heaven's ambassador on Earth anymore – on Heaven's own volition.

After they pulled off their body swap stunt post Armagedidn't, Crowley and Aziraphale of course secured themselves some temporary freedom from both Heaven and Hell. But it was only ever that, right? Temporary. Crowley says so himself at the end of Season 1: "They'll leave us alone ... for a bit." Sure, they were both sort of free to do whatever they wanted, but up until this very moment in the Bentley with Shax, Aziraphale thought he was the only one out of the two of them who had not only been let off the leash a little but also, so to speak, let go from his former employment. Which really explains his genuine, surprised look once Shax lets him know she's officially Crowley's replacement.

Their body swap trick gave them some breathing space, yes, but that's still entirely different than actually officially being let go from your job obligations and duties. What Aziraphale doesn't know either, however, (because again, Mr. Anthony J. Can't-Communicate-Crowley hasn't let him known), is that despite having been replaced and technically absolved of his hellish duties, Hell still very much relies on and demands things of Crowley. And also that Crowley himself hasn't been able to drop his weariness and worries since he still seems to seek out any and every information he can get on what's going on in the Up and Down. David Tennant said in an interview about Season 2:

"[...] interestingly, when we first meet Crowley, he's on a park bench catching up with the person who's taken his job. He obviously can't quite let go. He still wants the updates, and he still wants to know what's going on."

There's just so awfully much Crowley isn't telling Aziraphale – but that's stuff for another meta.

Either way, it eeks me a bit that we don't certainly know how much and what exactly Crowley has told Arziraphale about Shax – but it clearly can't have been all to much, since the Bentley conversation is their first encounter and Aziraphale doesn't even seem to know what Shax looks like, let alone that she's Crowley's new replacement. Crowley must have mentioned her to Aziraphale at one point or another pre-S2, because he does name-drop her when Aziraphale is about to reveal the appearance of Jimbriel ("You'll never guess who Shax was asking me about").

But it's one thing for Aziraphale to know or deduce that Hell might still occasionally send someone (like Shax) to check in on Crowley and another thing for him to not know that Beelzebub still summons Crowley whenever they feel like it, trying to coerce/blackmail him and that Shax regularly follows, even threats Crowley and lives in his goddamn apartment because she now fully replaces Crowley in his former job.

So, to sum this up: Aziraphale just received quite a bit of news Crowley withheld from him until now, but is also still lacking some other context that neither Crowley nor Shax has given him yet in order to be aware of the full picture.

Now, you're probably wondering: What the f*ck are you on about, OP, what does this have to do with the memory and narration analysis that this whole meta is supposed to be about? Well, dear reader, I'll kindly ask you to just hold onto that thought I outlined here until a little later. Tuck it in your pocket, don't worry, I'll remind you to take it out again once it's time.

Despite looking clearly incredibly surprised and, what is is again– ah, yes, flabbergasted upon hearing of Crowley's replacement, Aziraphale only reacts with a short "Ah", trying not to give away the fact that this is indeed very much news to him. He then continues to try and deflect anything Shax is saying and suggesting about Crowley. Except for the part where Shax says that she doesn't think Aziraphale seems like Crowley's type at all. And I cannot, for the absolute life of me, keep that GIF out of here, so:

God, how I adore you, Mr. Sheen, master of immaculate microexpressions.

Alright, let's move on from the brief flash of sassy angel, onto what Shax says next. Because this is the crucial part:

"You know ... what, sometime in the last 80, 90 years I remember hearing that you and Crowley were an item. I didn't believe it then. Not really. Poor old Furfur. He thought you were his ticket to the big time."

Which Aziraphale replies to:

"I'm afraid I have no idea what you're talking about."

But you do, Aziraphale, don't you? Of course you do. How could he forget the time he almost got Crowley caught together with him by Hell ("Fraternising!") in what was probably one of their most insane and turbulent adventures (that we know of, at least). And now he knows that Shax knows about it too! At least some of it, because she used to work together with Furfur and was the one who pushed him to do his investigation in the first place.

We end their little Bentley encounter with Shax getting out, cryptically saying "You've already told me where Gabriel is" and Aziraphale hurriedly speeding off back to London.

I'd like to briefly point out that according to Google Maps, Edinburgh is almost an 8-hour drive away from London. Of course we don't know where exactly Shax semi-grand-theft-auto'ed into the Bentley, but it's safe to say that since it's still dark when she does and Aziraphale arrives in London when it's light out and morning already, he must have at least been driving for another couple of hours. All by himself, with nothing to think of other than a) Crowley never having told him that he's been relieved of Hell's duties and –– you guessed it –– b) what happened in 1941.

And here's where it gets interesting: It's not just Aziraphale who's remembering 1941. It's Shax, too. It hit me like a ton of bricks, once I realized. Shax is the one who brings up 1941 and Furfur's mission to get his promotion. So everything we see that happens in Hell, with the Nazi spies being processed, are Shax's memories. Obviously Aziraphale couldn't have known or remembered any of that. But Shax could! And she does. Because this entire minisode is their shared memory of it, stitched together with the parts both of them actually witnessed.

And alas, here you have it: The reason why it makes so much sense that this minisode is so much longer than the last ones and also happens right after Aziraphale's encounter with Shax. They both were just very much reminded of what went down all those years ago. And they're both thinking back on it to come to some sort of conclusion. And funnily enough, it ends up being the same one – but I'll get into that in a bit too.

Aziraphale's got time to kill in the Bentley. A few good and long hours alone, with the knowledge of Crowley's and his own sort-of-newly-found freedom at the back of his mind. (Crowley! No longer bound to Hell! Himself! No longer bound to Heaven! Blimey!)

What else would Aziraphale think of, if not the time he realized, after the demon had saved his precious books, he was utterly and irrevocably in love with Crowley. And what else could Shax think of on her way back to London, if not the time Hell almost got proof of Crowley and Aziraphale being "an item", putting one of her colleagues onto investigating it and only now, decades later, coming to realize that it was true after all – giving her the confirmation that there was only one place Crowley would hide Gabriel while Aziraphale was gone: the Bookshop. Aziraphale's bookshop. Because if there's any demon that would have unrestricted access to it, it would be Crowley – as Shax has just now realized.

Let's just say it's no wonder that this minisode is about to be an explosion (pun intended) of all the things we have seen and realized about how Aziraphale capital-r Remembers things (ft. a bit more behind the scene knowledge, provided by Shax). And yes, it took me this absolutely ridiculous amount of time and words to get to the actual beginning of this minisode. But I'll be as bold as to say that you'll thank me for it because if there's one thing all of this teaches us, it's that context is so very important for memories and decision making.

... let's continue!

Title sequence: Rolled. London, 1941: Begins. Nazis in the church: Bombed. Books: Saved.

(Aziraphale: in Love.)

Right away again, the title card for "London 1941" looks like an old black and white film, similar to the retro hue and colouring of the Job episode in S2E2. We see what we saw already in Season 1, with the bomb dropping and Crowley saving the books. What we didn't know is what Shax's memory will now show us: How the Nazi spies were processed in Hell. And how she offered to help Furfur with being promoted if he could get her some intel on "some demon being up to no good."

I have yet to fully take my time to take a closer look at Shax, but I think she's a lot more competent and smart than Hell gives her credit for (similar to Saraqael in Heaven). How else would she have gotten word of A Certain Suspicious Demon while she was still an admissions demon herself. Or figured out simply by Crowley's Bentley not being at the bookshop in S2E3 that Aziraphale must be the one who'd currently be driving it somewhere. But okay, I really don't want to divert too much from my own plot here, so let's jump right ahead into our next scene: Aziraphale's first memory in this minisode.

I'm just gonna play Captian Obvious for a second here: There's literal sparks flying in the air. Red, firey, passionate sparks. And an angel looking like this:

I'll just let the imagery do the talking.

Now we have that love-birdery out of the way: I was at first going to once again call bullsh*t on the timeline our dear smitten Aziraphale is giving us here. Because I thought: "You're really gonna try and tell me that while there was an actual Blitzkrieg happening just down the block, the girls playing Ladies of Camelot had nothing better to do than to happily perform at the Westend like nothing out of the ordinary had happened?"

But the answer is ... yes. Yes, they literally had nothing better to do – because they were still performing! I chastised our dear angel too soon, because lookie here:

(Source: https://en.wikipedia.org/wiki/Windmill_Theatre)

I indeed didn't know that the Windmill Theater remained open during WW2 –– but it did put a smile on my face that the article specifically mentions it remaining open even during the hight of the Blitzkrieg. Neil, you clever man!

Also, one last nugget of appreciation: Aziraphale most definitely having no clue what sort of performances actually happened at the Windmill Theater (in case you don't know, just check Wikipedia for a sec), exclaiming "Sophocles! Shakespeare!" and Crowley simply going "Something like that" just warms my heart infinitely.

Fondly thinking about Aziraphale asking Mrs. Sandwich: "What exactly is it that your girls do?"

Another thing that seemed strange to me at first, that I think I also managed to semi-debunk, is the fact that Crowley's Bad Deed of that day seems to have been to deliver 80-percent-proof alcohol to the Windmill Theater. It made me frown and go: "Huh? I don't think alcohol was illegal in England in 1941?" However, upon googling around a bit, I think it might actually be not so much about the alcohol itself, but who it was given to. Which, in this case, is the American soldiers frequenting the nude shows at the Windmill Theater. All I could find were some books and essays, one of them titled "The Wet War: American Liquor Control, 1941–1945", as well as this short abstract of a paper that seems to talk about how American soldies consuming alcohol while at war/stationed abroad for WW2 were frowned upon by US Army chaplains because "the impact that alcohol would have on the men's moral well-being".

So, it would make sense for Hell to send a certain alcoholic temptation to one of the dens of temptation itself – the Windmill Theater. Enter Anthony J. Crowley, your local Nazi-church-bomber, book-saver, angel-seducer and alcohol-smuggler. (Albeit that last one sort of failing a little. Sorry, Mrs. H.)

(Sidenote: @createserenity gave a lovely and very plausible explanation of the whole alcohol delivery and also who Crowley's character design might have been based on in the comments of this post!)

Aziraphale then of course jumps in, offering to be the magician of the evening to repay his "good friend" (sideye), waving around his little handkerchief like an excited little boy. ("Ah, the ✨theatér✨!") We also get the first zombie!Nazis content, which I believe is probably a reconstruction of what the zombie!Nazis told Furfur once they met up with him again and what Furfur then probably told Shax once he failed his mission. Brains eaten, we continue to this glorious line:

He's just so very excited and giddy about it all – and I think that's partly because he a) just realized that Crowley loves him (and he very much loves Crowley too) and b) because Bentley!Aziraphale who is remembering this, probably remembers it even more fondly and giddily. We've seen his emotions bubble over a lot more during the other minisode-memories – so it only makes sense that in this one, he's remembering himself to be almost out of his mind with happiness and excitement about Crowley the magic show.

Remember what I asked you to tuck into your pocket?

Take it out again. Go on, there's a love! Because what is it that Aziraphale realized mere moments ago during his conversation with Shax? Crowley is free of Hell.* (*and remember, he doesn't know that that's not entirely true because no one told him the rest of the facts. So yes, we know it's not quite as simple – but Aziraphale doesn't.)

For all of S2, he has been trying to bring his relationship with Crowley to a new, more domestically intimate level (our car!), confidently and potentially even a bit carelessly ignoring the still-very-much-there threats of Heaven and Hell. I think one of the things that might have still been holding him back in his attempts to get to the next base (huehue) was the fact that he thought Crowley was still actively employed by and tied to Hell.

In all of S2, Aziraphale does come across as a little bit blinded by his desire to finally be with-be with Crowley (rose-tined glasses obstructing the view and all) but he's not completely carless. He knows Hell to be way more cruel to their employees and has always been careful to not get Crowley into too much trouble by being associated with him. But now he has (a little falsely) deducted that Crowley is in fact no longer in hellish demand – and isn't that just absolutely tickety-boo! Lacking the context that we, the audience, have, Arziraphale.exe is currently running hot on: Heaven and Hell don't care about Crowley and me anymore! We're free of our employers' interest in us and the threat that used to bring!! I've been trying to lock this serpent down ever since the World didn't end – and now I finally can!!! I'm We're able to do whatever I we like which is to finally confess to Crowley!!!!

From Bentley!Aziraphale's point of view, this is the literal green light on their highway to Alpha Centauri! Metaphorically, anyway. More like their country road to the Southdowns. And, for now, the M1 to London– back, back, back to Crowley!

For a minute, I did wonder about why he doesn't seem at all worried or stressed once he arrives in London after his journey. After all, Shax did very clearly threaten him and insinuated that she already knew where Gabriel was. But if you look at Aziraphale all throughout Season 2, it's so very evident that he's completely occupied with being soppily nostalgic of all the memories he recalls of him and Crowley and, even while facing off with Heaven and Hell again, seems oh too happy to ignore all that because he only has eyes for one thing.

Need I say more?

So, of course, realistically Aziraphale should probably be worried and weary of what Shax said (and maybe also a little taken aback by the fact that Crowley never told him any of this). But oh, isn't the world just that much lovelier when you look at it through shades of yellow and rose? And ignore everything else because if you only look at what you want to look at, both you and the serpent of your dreams are finally free to be together? So, of course! Azirapahle should be so! Very! Concerned! But instead, he is so! Very! Happy!

Both back in actual 1941, after Crowley saves his books, as well as in his memory of the story, aka in the current present day – which we don't get to see until he leaves the Bentley, but then it does show.

And it shows even more while he's still remembering 1941:

Crowley doing an American accent? Oh, that must have been so funny and charming, look at him slapping his thigh, unbuttoning his jacket, leaning back all suavely and watching me– I mean ... the Ladies of Camelot.

There's this excellent meta by @cobragardens I read on the colours of red and yellow in this 1941 minisode as well, which further makes a point of how red is clearly Crowley's colour in Aziraphale's mind – and it's so, so vibrant in this memory specifically. Poor angel has really got it bad for his beloved book-saving demon.

I'd also like to point out Aziraphale's tendency to exaggerate again, both when it comes to others and himself. We see this in the other minisodes as well, and here again, when he seems almost overly-clumsy, dropping those big trick-rings twice, making a tower of cards topple over and then dropping even more things on the counter. This is probably just a bit of a projection how he might have been feeling about performing as a magician: Slightly nervous, trying to overplay it and yet very keen on getting it right.

Crowley seems to always just be watching silently when memory!Aziraphale is acting a little out of character – possibly because there was no actual reaction from him since these slightly overdramatic things weren't actually this dramatic in the first place.

Another thing I would very much take with a grain of angelic memory salt, is one of the Nazi zombies actually walking into the shop while Crowley and Aziraphale are still in there. First of all, that would be pretty bold of him/them, given there's only three people in this tiny shop. And second of all, don't you think it's odd that neither Aziraphale nor Crowley would notice a literal undead person sauntering into the shop? I'll give Aziraphale the benefit of the doubt, since he's currently on cloud nine. But Crowley? How on Earth would he miss that?

Unless the zombie never actually went into the shop, put on silly costumes and rings (because given their track record, in my opinion, goofing around is a very un-Nazi-like thing to do) and it's just what the autopilot of Aziraphale's daydream is playing in the background, to fill in the gap for how the zombie!Nazis figured out where his magic show would take place. Because as we already saw, Aziraphale is a bit, well ... busy in that moment.

This GIF is not sped up, by the way, that is indeed the absolute astronomical speed Aziraphale shook Crowley's hand with when he agreed to pretend to shoot him on a live stage. He's my favourite. Of all time.

Alas, the curtains at the Windmill Theater draw aside, ladies and gentlemen: Enter Fell the Marvellous!

Firstly, I would like to point out that Aziraphale is literally being surrounded by all things Crowley – the red curtain to his back, the red and black feathers to his left and right and, well, literal Crowley in the audience to his front.

Just another little ode to how beautifully this whole minisode is done colour-wise.

If you read Part 2, you might remember me saying that how and what Aziraphale is feeling is actually translating directly to what we, the audience, are shown through cinematographic and auditory clues. And this very same thing happens here too. Its starts around the minute mark of 28:31. Right after Aziraphale realizes that his miracles aren't working and he still announces the bullet catch, introducing Crowley, you can tell that the whole frame starts to shake every so slightly.

At first, it's extremely subtle and you could possibly wave it off as simply being filmed with a hand-held camera. However, the further we progress into the bullet catch trick scene, the more the frame starts shaking.

I have taken the liberty to make a little cutdown of how this intense shaking progresses, so that in case you never noticed it before, I can spare you the time of going back to watch it for yourself.

It might be a trick of the eye but it even seems like the edges of the frame grow blurrier the closer the actual firing of the gun comes. And I don't think I have to tell you what feeling this is trying to convey. Anyone who's ever had a panic attack would probably describe it exactly like that. At least I would.

Everything is shaking because Aziraphale was most certainly out of his mind with fear and adrenaline. He wants to do this, he has to because he needs to show up for Crowley the way Crowley showed up for him at the church – but he's also literally risking being discorporated for good. And once again, we feel his panic, we feel like just like it's our own blood pumping through our veins, just like when we ourselves are shaking with fear. Because this is his memory. And a memory of such a tense and dangerous moment takes a long time to feel less scary.

Once they successfully pull of the trick, the shaking stops, of course. Fell the Marvellous nails his second trick by stealing Furfur's picture, the Nazi!zombies wander off to Satan knows where and we get another one of Shax's memories when we see Furfur not getting his promotion. (Almost makes you feel a little sorry for him, poor bugger.)

I don't have much to say about their romantic red wine candle light boogaloo, apart from the fact that it makes me want to punch holes in walls with how smited smote smitten Aziraphale looks at Crowley the entire time. And also there's this awfully sweet post about Crowley deciding to still sit and drink with him despite not knowing yet that Aziraphale had stolen the evidence picture.

HE IS SO IN LOVE I AM GOING TO SCREAM–

Back to reality, whoa, there goes gravity (as we plummet down to Hell).

Because remember: While most of this was indeed Aziraphale's memory, some of it was Shax's as well. And I'm pretty sure she knows most of what went down that night. After all, Furfur was most definitely the one who caused the rumors of Crowley and Aziraphale being "an item".

So, while Aziraphale was in the Bentley, indulging and revelling in his love-struck memories of the night he almost died* (*discorporated) twice and managed to survive both times because Crowley was there and trusted him, Shax also thought back on all of this since it was the final nail in the coffin that confirmed to her that Gabriel was hiding in the bookshop with Crowley.

So, what's the conclusion that both characters have come to during this very long flashback? It's simple:

Aziraphale loves Crowley. And Crowley loves Aziraphale.

There's only one person Aziraphale would trust with Gabriel – and that is Crowley. And there is only one place that no other demon would have access to except for Crowley. And that is the bookshop. Shax knows this now. Which is why it makes so much sense that once we're back in present day!Hell, she immediately requests a legion to attack the bookshop. Because she knows this is the only place Crowley and Aziraphale both consider safe from the outside world, and the only place Crowley would have access to because Aziraphale loves trusts him. Reflecting back on it, 1941 confirmed to her that they have been and still are the item everyone suspected them to be.

Clever, clever Shax!

As for Aziraphale: It's less of a conclusion, to be honest, and more of a reassurance, an affirmation of sorts. As I pointed out in my horrendously long context introduction, Crowley no longer working for Hell is exactly the push Aziraphale needs to finally feel like it's possible to make his move and confess to him.

And what does that news- and memory-induced realisation look like? This:

Ah yes, what a lovely day to confess your millennia-long love!

Too bad Crowley's not really up to speed yet and Aziraphale's rose-tinted little moment is met with:

... a face-full of plants. Whelp.

It's okay, they'll figure it out eventually.

My final little sidenote: The Jane Austen Ball and why it wasn't about Nina and Maggie

By all means, if you're already sick and tired of my tangents, do feel free to just skip this and end the meta early. I hope you had a good time with it, let me know your thoughts!

And for those of you who are up for a last burst of tinfoil-hatting: My conclusion to all of this is that I am 100% convinced that the whole Whickber-Street-Association-turned-Cotillion-Ball stunt Aziraphale pulls off in the next episode, was never actually meant for Nina and Maggie.

Why? Because up until getting a mouthful of plants once he arrives back in London, Aziraphale hadn't even known yet that Crowley's awning of a new age under the canopy had failed! The last time they spoke was over the phone in Edinburgh which ended with Crowley hanging up on Aziraphale to go make the love mission happen. And yet, Aziraphale clearly already has the whole ball thing planned out once he arrives in Soho, because he already calls it 'a night to remember'.

So, riddle me this: Why would Aziraphale plan this whole over-the-top romantic Jane Austen Ball on his ride back to London to make Nina and Maggie fall in love if he didn't even know yet whether or not Crowley's attempt at it had been successful or not?

It's almost like he meant for it to be his ideal way of a romantic confession for someone else.

'member the pub scene in S2E2?

Aziraphale: "People would gather and do some formal dancing and then realize they had misunderstood each other. And were actually deeply in love!" Crowley: "Now that sounds unlikely."

Resolving a deep misunderstanding like, hm, for instance, your "de facto partner" not telling you he'd been let go by his toxic employers just like you and also your quarrel about you wanting to protect your former-asshole-turned-cottage-core-dad boss from your own former toxic employers? With ✨a ball✨? (And that being, well, really unlikely to work? Oh, deary-dear angel. Oh, Aziraphale. Be still, my beating heart. You're a soldier for trying, I'll give you that.)

Are you goddamn done yet, OP?

Yes. I am. The tinfoil hat defense rests. I'm aware this was less focused on the actual unreliable narration and a bit more on contextualizing memories and feelings with decision making, deductions and actions – but hey, the road to epiphany has many winding paths. Or something.

Once again, here are Part 1 and Part 2 and if you made it this far: Congratulations, you have reached the end! Thanks for baring with me. I hope you enjoyed the journey just as much as Aziraphale did his daydream in the Bentley. And if you and me both feel strong enough for it, I might see you around in a cheeky little Epiloge to this meta series!

(Also: @dancingcrowley asked so nicely for me to tag them once Part 3 came out, so here you go!)

Cheers!

#good omens #good omens season 2 #crowley #aziraphale #ineffable husbands #gos2 #go2 #good omens 2 #good omens meta #good omens s2 #my own meta #why aziraphale is an unreliable narrator #1941 #good omens blitzkrieg #bullet catch scene #bullet catch good omens #someone take this laptop away from me i need to be stopped #neil if you see this wink with both eyes i'm sure i'll feel it