#s2 is a miracle isn't it

[areyoudoingthis]

in light of the everything we are SO lucky we got s2 at all. they murdered the budget and forced them to make do however they could with half the money and they still gave us a lovely season AND a happy ending for ed and stede. we could so easily have been left with ed crying alone forever but we got joy and hope and healing instead

#s2 is a miracle isn't it #there were so many shitty things going on at hbo and the tv industry in general that could have killed it and yet it happened #and it was a beautiful gift #I'm even sorrier now that they had to work with half the budget of s1 and that they probably got offered even less money for s3 #it's truly evil of hbo but I'm so grateful that they went ahead and worked on s2 anyway

[vroomvroomwee]

Crowley is Lucifer

(Ok I know some of you don't believe this theory but I highly suggest you give this a quick read anyway. I tried to make it short and easy and I'll be going chronologically, from s1 all through s2)

- First, let's get this out of the way, Lucifer and Satan aren't neccesarilly the same person. Even in the show the devil that appeared in s1 has only ever been reffered to as Satan, not even once as Lucifer.

- In the bible Lucifer was the one to tempt Eve with the apple, and who do we know that does that in the show. Crowley is literally THE snake from Eden.

- An obvious one perhaps, but the red hair is also a giveaway

- In the bible Jesus was tempted by the devil for 30 days, in the show Crowley says "I showed him all the kingdoms of the world", so that's another role Lucifer has that Crowley had in the show

- It's well known (even mentioned in the Sandman) that Lucifer was the most beautiful of all angels, and our demon is played by no other than David Tennant

Now on to season 2 because there's a LOT to unpack here

- He litterally started the engine of the universe which was one of Lucifers roles

- He's the first to say "let there be light", which is pretty fucking huge since that is Gods line

- "I worked closely with upstairs on it" even in the first scene they're telling us Crowley is an angel of very very high rank

- He fell for asking questions, which is litterally what Lucifer fell for, for questioning God. This in and of itself should be a pretty big indicator. "I only ever asked questions"

- Shax: "a miracle of enourmous power only the mightiest of archangels can perform"

Crowley: "How do you know I didn't do it"

And Shax just... doesn't counter that. She looks even skeptical, as if it COULD be a possibility, unlike Uriel who says to Aziraphale don't excpect us to believe you did it. Shax litterally doesn't shut the option down which confirms Crowley has the power not only of an archangel but of the mightiest kind

- In the bookshop with Gabriel/Jim he says "I don't remember. It [gravity] seemed like a good idea when we were all talking about it"

- "You're welcome to come in, you might even spot an archangel" don't tell me this was Crowley just egging Shax on and not being sneaky

- The fact that he could sense the demons coming. "Somethings wrong""It's coming in waves", when Aziraphale couldn't. It could be a demon thing but we saw Sandalphon, an archangel of lower rank, in the first season mention "something smells evil" so obviously angels can sense demons too, they just have to be powerful enough. And keep in mind Sandalphon was already in the book shop for quite some time, Crowley sensed them even before they had arrived (he also sensed the hell hound who was some fucking miles away)

- The.fucking.folder. "You have to be a throne or dominion above" and this dude opens these clasified documents like it's nothing. If this isn't an indicator of his high position as an angel I don't know what is.

- He's worked with Saraqael, another very high ranking angel

- "I'm the only first order archangel in the room"... and the camera imediately pans to Crowley, and for anyone who's read the book and watched the show you know that rarely anything is coincidental

- When the Metatron says they can't lose another prince of heaven. This... this fucking line. So it's relatively well known that Gabriel and Lucifer are brothers, and if Gabriel is one of the princes of heaven I wonder who the other one could be. "Two princes of heaven". And the Metatrons words were very careful, he doesn't say lost as in heaven can't find him, he says it in the context that they won't be sending Gabriel to hell since they won't lose another prince to downstairs

- In the bookshop when no one can identify the Metatron he turns to Crowley who imediately recognises him. Now you have this dude, who's literally on top of the angel hierarchy and is responsible for running heaven and the connection to God themself, surrounded by archangels and a principality you spoke to face to face with just a few years ago and... none of them can tell who you are, the only one who does is the literal demon. That tells us that Crowley has not only seen him in this form, but has probably worked with the Metaron himself personally. "Always asking damn fool questions", 10 million angels and he remembers what this one particular angel was like 6000 years ago

- Crowley is also very reluctant to reveal his identity as an angel. Now if he were just an ordinary angel of no real significance he wouldn't have a problem revealing his name, but... if his name was one that's the literal representation of all evil in this world, then it is understandable he keeps it a secret, in fear he might scare Aziraphale away

- And I wanted to leave the best for last. So you remember in the book when Crowley has to sign his name to start Armaggedon, and Hastur tells him "no, your real name" after which he reluctantly writes it. Now in the book we never see him write anything, but in the show we see him write a sygil, something that looks very mich like an L. An L... A FUCKING L. And now I wonder how this theory didn't come up sooner.

(Also he can fucking stop time, like dafuq)

Edit:

- "Oh looky here it's Lucifer and the guys" we all thought he was talking about someone else, he's just refferencing things other angels have said about HIM. FUCK

- I keep seing people saying Crowleys memories were wiped because he couldn't remember Saraqael and Furfur. But I think people forget, demons lie. He's lying to make them think he's not that angel they worked with, that he's not Lucifer. (In season 1 we hear him a few times refferencing his life as an angel, so he does remember most of it)

- Also saying if the Raphael theory were true then as showrunners they would have mentioned him somewhere for those not that familiar with the bible (or don't read much fanfiction). The refferences for Crowleys past are so so vague that it would be too sudden and confusing if he were Raphael. But there is one name that everyone is familiar with, no matter who you are how old you are or where you're from, a name that needs no introduction.

Edit 2:

- Back to him being the most beautiful angel, I don't think it was ever quite explained how every single demon when they're in hell looks... awful, but Crowley doesn't. Beelzebub has the spores all over their face, Hastur the maggots and the sh-, Dagon the scales etc. But Crowley doesn't, not even when he's in hell, he's always just so, well, pretty.

- I saw a few people asking about how Lucifer started the rebellion and Crowley wouldn't do that. I think it's the same Crowley who wouldn't get stuck in traffic after creating the M25, or the same Crowley that wanted to call Aziraphale after bringing down the entire London network, "you told them you invented the spanish inquisition, and started the second world war""so the humans beat me to it that's not my fault", "so all this is your demonic work?""no, the humans thought it up themselves nothing to do with me"

- Also I think Satan's in charge of hell not Crowley the same way the Metatron's in charge of heaven and not Gabriel (and who can very easily demote angels if he so wishes)

Edit 3:

- like some of you pointed out Lucifer is also known/means Light-bringer. And Crowley was the first to say "let there be light."

- The file he opens with Muriel is Gabriels file, a class A archangel, so if he knows the password to that it means that either he's on the same level as Gabriel, or above him.

#crowley is lucifer #goodomenss2 #crowley #goodomens #aziraphale #good omens #ineffable husbands #aziracrow #goodomenss2spoilers #good omens 2 #good omens season 2 #goodomens2 #goodomensspoilers #good omens spoilers #good omens s2 #good omens season two #good omens series 2 #good omens season 2 spoilers #good omens s2 spoilers

[vidavalor]

Good Omens has shown us, among other things...

-Crowley pointing the paintball gun at Aziraphale and giving the office workers miraculous escapes from death *before* it showed us The Blitz, Part 2's Bullet Catch that shows us what he was referencing to Aziraphale by doing so

-Aziraphale's love of human magic and his vanishing coins act and Crowley grumbling about all of it *before* it showed us "the farthing has vanished!" and The Marvelous Mr. Fell and his "volunteer assistant" on stage in 1941

-The 1862 breakup *before* the 1827 scene that gives context for their traumas that led to the breakup

-The sexy lunch in 2008 *before* the ox rib date that started it-- all the way back in 2500 B.C..

-Crowley telling Aziraphale about his night dealing with the antichrist baby: "Well, not, delivered-delivered, just... handed it over" *before* professional midwife/cobbler Bildad the Shuite "birthing" Job and Sitis some "new" kids

-Crowley, alone, forced into the start of Armageddon by delivering the antichrist in a picnic basket *before* 1967, in which Aziraphale dreams of a world they could get to before they run out of time in which they could go on a picnic together

-Aziraphale looking to the side Crowley always comes up on when he hears the miracle sound in the sushi restaurant in 1.01 *before* we even know that Crowley always comes up in the same way from various scenes teaching us this

-Aziraphale's tartan obsession *before* its origin story, which is the date in Edinburgh in 1827 wherein he became spirituality Scottish and thought he lost Crowley and after which he adopted the tartan as a thing related to the two of them and never stopped wearing it. See also: showed us 1967 and the tartan thermos *before* explaining to us that the tartan isn't just something Aziraphale likes but is something with meaning to the two of them together as a pair

-Crowley rambling drunkenly about bananas, fish and gorillas in the bookshop *before* his and Aziraphale's 'banana fish gorilla shoelace with a dash of nutmeg' conversation over wine in 1941, showing us that he was drunkenly remembering in a scene in S1 a romantic scene in their history that we didn't know then and wouldn't know until S2

-Crowley & Aziraphale dining at The Ritz in 2008 in 1.01 *before* we even know that was The Ritz or why it matters that it was, which they don't tell us until the final, romantic moments of S1

-Crowley obsessively growing a large, lush, overhanging canopy of plants in his apartment *before* telling us he's got a thing for vavoom-y erotic gazing and kissing under the shelter of canopies the likes of which have never been seen in a Richard Curtis film

So, my dear, dear loves... explain to me why I'm not going to be adding to this list next season:

-that heartbreaking 2.06 kiss *before* the first one they had a bazillion years ago?

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

[hg-aneh]

HI!!

so this post of yours got me thinkibg:

And I found a whole entire AMAZING FIC LIKE ITS SO GOOD 👌 where that’s the plot

idk if you can see the link but if not, it’s called Factory Settings on A03 so if your interested please give it a look I BEG

it’s legitimately so good

Oh, I've been reading it, it's currently in my bookmarks actually, and it's pretty lovely

but I thiiiink that fic has Crowley turn back into Twinkliel instead of having them both exist at the same time, which is what my idea was skbfs

I know there's a similar fic to that that was written before s2 came out where Crowley gets split into his demonic and angelic halves (find it here), buuut this isn't what this is either

Think of it as Aziraphale accidentally making a new Twinkliel out of an older record of Crowley in the Book of Life

Like restoring a file

The point here being that they're not the same person, Twinkliel's name was,,, lets say "smudged", and on top of it, Crowley's was written.

Aziraphale tried miracling the "smudge" to combine with Crowley's current name but he ended up separating them and making Twinkiel part 2 electric boogaloo

Crowley's still the same (aka still has memories of his fall and life as an angel) because his current name encompasses those experiences already

If you're an artist you can see this as restoring an older, unfinished version of a piece in paint tool sai whilst still having the finished piece file open in another tab

#sorry for the ramble nnn #im shit at explaining #no one even asked jsbgnsbgks #SORRY DEAR ASKER I HAD TO LET IT OUT SOMEHOW #great fic btw idk how they finished it so darn quickly #aneh answers #aneh wont shut up #Twinkliel

[iamadequate1]

OK, this common refrain:

Just move on! You OFMD fans are so annoying!

Ridiculous.

What is happening with OFMD right now is UNPRECEDENTED. This isn't a cute little cult show: this is a juggernaut for Max. It's its #1 original show right now (using the metrics available right now since Max hides numbers). It's 30x in demand than the average streaming show. It was Peabody nominated. Max spent significant money on a FYC campaign for it. Its audience grew between S1 and S2, and S1 was already beating off Marvel and Star Wars shows on the charts. It can pull thousands of fans into conventions. It had a Times Square billboard just in October. Most of Max' social media interaction is from OFMD. If reports are to be believed, the S3 scripts were readied and they were already scheduling time for filming, releasing announcements, and interviews. It has succeeded in every metric a show can be measured in, and passed these expectations beyond any studio's dreams.

But it was derailed last minute by a tantruming CEO, a CEO whose incompetence is bleeding hundreds of millions out of the company and is destroying the reputation of and industry confidence in the company. The company stock has fallen over 6% since the OFMD announcement two days ago (not the sole factor but one of the biggest factors). If a show like OFMD cannot succeed at Max, no show can succeed at Max. If Max cannot support this show, it cannot support being a streaming service at all.

Is there a show cancellation that has ever compared to this?

This announcement is not because a fringe minority in and outside the fandom thought S2 was "bad", or that some people didn't like certain plot points of S2 (no hiding it here that I'm not a fan of certain fanons, though I enjoy all characters). Taika Waititi was excited and onboard; he wasn't "bored" and decided to move on. They didn't cram the original ending into S2 just in case. There is still story to be told, and this series earned the right to be able to finish that story. Ed and Stede are still in the shaky beginnings of their relationship! They need to dance, have domestic moments, have affectionate moments, get married (what was the point of David Jenkins hyping matelotage at every step?)! How does our pirate community actually move on with their lives past the English encroachment (personified in Ricky)? This isn't a video game, and the story didn't end because they reached a "Get to The Revenge" checkpoint. What personal paths are our beloved crew members going to go on? There is still so much story, and we didn't have a clean break.

We're telling ourselves that fan campaigns have worked before. These examples, the shows were all deserving, but they were not the juggernauts that OFMD is. Firefly, for example, was 98th in Nielson ratings, and it was nowhere near the biggest audience for FOX shows. Imagine if FOX had randomly decided to cancel its top rated scripted show for the lulz. Would FOX have ever recovered or been able to court new talent? (ETA: 2002 FOX. 2024 FOX already can't court talent. A rather expensive spectacle show like 911 smoothly and immediately transitioning to another, more stable network is not why I'm here.)

The streaming competition is tight right now, and Max had a miracle in OFMD, all without even bothering to promote it. OFMD has a passionate audience. It has deeply resonated with thousands and thousands of people, and it is not silly to have emotions about creative projects because that is the entire point of creative projects. We have invested real time and money into this. We've created a community. We believe in David Jenkins and all involved, and these are real people we want to support because they brought joy into our lives. The respect and comradery this crew has with the fanbase is refreshing and rare. They revel in the fans' returned creativity and passion where most others have chosen to mock instead.

I am not going to just accept the whim of some random guy in a suit. I'm not just going to shrug and say "Got me there!" I'm not going to be ashamed of having passion, any excitement, any thrill at a unique work that is unapologetically sweet, joyful, and sincere and gives us the beautiful diversity we see in our lives. If this can happen to THIS SHOW, this juggernaut, there is no point in ever being invested in a new creative project again, and that is not a world that I'm willing to accept.

I am going to fight and keep fighting for as long as it takes. If this annoys you, learn how to use mute and block functions and don't expect me to change because it's your first day on the Internet. Why shouldn't we expect excellence in media we invest in? Why shouldn't we be angry that studios are trying to collapse into one with mergers and reduce all output to five IPs with cookie cutter releases? Why shouldn't we expect that a show that has met all expectations to be rewarded by the studio for the value it added? Why should we be expected to just shrug at every cruel decision like this (a decision that doesn't even make financial sense) and hand over our money to some passionless, generic alternative? Why should we just consume whatever terrible product the studios spit out at us instead of fighting for ones that deserve to thrive?

It is not hyperbole that this is a turning point in the industry. We just spent the summer with studios demanding AI be able to replace all pieces of the creative process unchecked, and now we have an absolutely unprecedented strike down of a creative and unique show at the top of the industry because there were a few more (entirely imaginary) pennies to be had. This is inexcusable.

This is a long haul situation. Zaslav blindsided us, so alternative streamers wouldn't have even been on the radar at the beginning of this week. David Jenkins and company also can't make comments on any possibilities we have since they have to keep working relationships in this industry and they need contracts finalized first.

There is always hope, no matter how slim.

Don't give up, and don't give in.

Remember to @renewasacrew

#our flag means death #ofmd #renew as a crew #save ofmd #renewasacrew #saveofmd #david jenkins #i just really like this show #no cut! just giant wall of text

[monocaelia]

atlas.

- he could only hold the world for so long, it was about time his body caved in ; aka, the two times you're reminded of his humanity. feat. gojo satoru & gn!reader genre : hurt/comfort , happy ending w.c. : 1.8k

warnings: spoilers for jjk s2 ep5 note : i hate goe joe satoru.

gojo satoru.

you didn't even need to see him to know who he is; he is the revered member of the gojo clan blessed enough to be born with both the six eyes and the infinity cursed technique and is a one in a lifetime miracle.

from the beginning of his life, gojo had been the strongest sorcerer in existence. with both blessed techniques at his will, he was near unstoppable and was worthy of shouldering the problems of jujustu society from a young age, as decided by the gojo clan.

and, for someone as blessed and impenetrable as he is, gojo had never felt the emotional strife of losing someone dear to him.

there are two times that you recall ever witnessing gojo satoru lose his composure, where you have seen the blessed one who holds the power of the gods in the palm of his hands and is always one step ahead of everyone else fall to his knees as the weight of the world finally takes its toll on his poor soul.

the first time was when getou suguru had betrayed jujutsu tech. you weren't sure of the details; you were in the middle of a mission and had returned to the news of your classmate and friend becoming a wanted criminal.

honestly, hearing it firsthand did not feel real to you. getou suguru was someone you had always admired. he was someone who not only had a powerful cursed technique, but was also a skilled fighter and knew how to use his technique to the fullest despite coming from a normal family rather than one of the prestigious families that were well-known in jujustu society.

you had shared smiles with him, stories of the crazy memories made while exorcising curses and the near-death experiences shared while on missions together.

and you knew gojo and getou were near inseparable during their time at jujutsu tech; you couldn't imagine the pain gojo was going through with the news of his one and only becoming a murderer wanted in all of jujutsu society.

you find gojo satoru alone in getou's old dorm room. it's empty; the once neat, but lived in dorm now completely void of any evidence of being lived in with the exception of a framed picture of your class left on the nightstand.

getou and gojo tower over you and ieri, but it's all smiles from the four of you. because of the small frame and the number of people in the photo, you're all squished together. though, it's not like any of you minded.

a perfect picture of youth; the most beautiful moment in life.

the frame is held in gojo's hand as he sits on getou's dorm bed. you can see his fingers clench the frame as frustration settles into his bones, before he relaxes once more.

"it's not your fault, you know," you say gently, breaking the silence and hopefully through the roaring storm that you know is brewing within gojo's head. you step into the room and join gojo on the bed; he doesn't move and he doesn't face you.

"no one saw it coming." you try to reassure him, but you know any attempts at this point are futile. gojo does not respond, a flood of memories flying by crystalline eyes as he tries to figure out when it went so wrong.

the silence is permeable as reality settles into gojo. his lips part, a shaky breath, and he's speaking again.

"i should've seen it coming," he whispers. there's a clear anger in his voice, though you know full well exactly who it's directed at. "i was his friend and i didn't even realize he was hurting alone." His voice cracks.

"i didn't even do anything to save him."

it is then that you begin to see gojo as who he is. he isn't an untouchable god who feared nothing, who had enemies that couldn't even lift a finger to hurt him if they even dared. this gojo beside you isn't an omnipotent god, he's just a kid like you; he's human. he's vulnerable, even if the elders believe otherwise, for his friends are his one and only achilles' heel and the key to his humanity.

not quite knowing the words to comfort him, you reach over to hold his hand. it isn't much, but you know firsthand that just having someone beside you to help support your pain is better than shouldering everything alone.

the tight squeeze of your hand and the quite sniffles beside you are all you need as a reminder that gojo satoru is not a god; he is only gojo satoru.

the second time gojo felt genuine fear was when he nearly lost you.

as a result of a curse that was underestimated for second-class sorcerors to take, you had become collateral for a simple mistake from the higher ups. of course, mistakes could just be that, but everyone knows better.

this was set up so they could easily dispose of you and rule your death as a mere 'accident.' the higher ups needed you gone as the deemed your existence a hinderance to gojo's full potential, a dam in the middle of the river.

lucky for you, you made quick work of the curse before collapsing with the only words you heard being a shout of your name.

the bright lights of the jujutsu high infirmary are the first thing you see when your eyes slowly flutter open. your vision is blurry and the world is still spinning as you regain consciousness. with hesitance, you slowly sit up despite your body aching and telling you to lay back down.

it is only when a firm hand presses against your chest and pushes you down do you actually do so.

crystalline blue meets your gaze. they're playful and full of youth, a pair of blue eyes that you're most familiar with. but theres a shadow of solemnity behind those bright irises and you know exactly why.

"about time you woke up," gojo speaks up, ruffling your hair with his hand. they're roughened from years of training and fighting, but there are no other blemishes that stain the purity of his hands. "i thought you finally had enough of me and decided to kick the bucket, dear." there's a light, jesting tone to his voice as he speaks. he's laughing, though you can see the redness underneath his eyes as he brushes off your near death experience as a joke.

"and leave you alone to torment the students? as if," you jab back with a smile of your own. "i wouldn't ever want to wish that on your students. fushiguro would drag me back from the dead if i left him alone with you."

gojo's bottom lip juts out and his brows furrow in a pout as you say this and you can't help but laugh a little on your own.

"but i know you'll miss me, so i won't die just yet," you reassure your white haired companion. your hand reaches over to hold his own and gives it a gentle squeeze, a reminder that you're alive and still breathing beside him as your pulse and your warmth bleed onto his own.

his hand squeezes yours tightly, as he did years ago, and his bottom lip is caught between his teeth as he bites down onto the plush skin. his eyes aren't focused on you anymore and instead focus on anywhere but you as the reality of the situation settles into his bones.

"promise?" gojo asks, his voice a mere whisper.

he already lost one of his closest friends years ago and you witnessed that heartbreak with your own eyes as you had comforted gojo when he needed it most. you couldn't imagine how his fragile heart would break again if he had lost you just now.

despite being the strongest, you know that not being able to fully protect the ones he held close was one of gojo's biggest weaknesses as much as he tried to hide it.

but you know that you couldn't give him any empty promises knowing the work you're doing. it would only give him false hope and the both of you know that better than anyone else.

you don't answer him and instead pull his hand to your lips, pressing a soft kiss onto his skin. with a gentle tug, the hand held by gojo is pulled into his chest as he cradles your palm. his fingers intertwine with yours and your heart swells at the small action.

it is then that you meet crystalline blue once more, though this time they are unwavering as they firmly stand their ground against the hands of fate that, at any moment, could cruelly tear the two of you apart.

"don't leave me," gojo begs. "you can't leave me until the world has turned for the better, for us and for the youth of jujutsu society. i'll make it happen so..."

the once invincible sorcerer brings your hand up to his lips and he presses a kiss along your knuckles, reciprocating the act you did before.

"please, don't leave me."

gojo leans down and presses a kiss to your forehead. it's soft and hesitant, but you know at this point his fear of your life nearly slipping through his fingers has caught up to him. he pulls away, only to lean down again to kiss you.

your heart flutters feeling his lips kiss yours and you can tell from the way his lips barely ghost of yours that gojo is scared you'll disappear from him if he moves the wrong way. like a warm wave easing the worries that burrow into his entire being, your hand that's free from the one held in gojo's reaches up to cup his face. your thumb caresses his cheek and bring him closer to you, reassuring him that you won't slip away from him should he kiss you too hard.

gojo pulls away from the kiss with cheeks warm and his eyes, now a calming blue that held the stars you love so much, glint with satisfaction and relief.

though, the sweet and tender moment shared between lovers is ruined the moment gojo opens his mouth again.

"don't break my promise, okay? i don't care if you die, i'll die with you and haunt you forever as punishment for dying first, okay?" your white haired boyfriend urges as he leans his forehead against you, blue now an annoyance to you as he forces you to make eye contact with him.

your hand pushes his face away with a snort, ignoring his whining complaints as you do so.

though, it's not like you would ever willingly die first. you couldn't leave gojo satoru alone, your soul couldn't bear the burden of knowing you would shatter the glass that makes gojo's heart.

#gojo satoru x reader #gojo x reader #jjk x reader #satoru gojo x reader #didi writes #this got more serious than intended but wtv LOL #this is how i cope with hs gojo arc being animated #i hate stsg so much. #makes my stsg plushies kiss and make up #yes ik there's another time where gojo loses his resolve #but that's for manga readers to know only

[ao3cassandraic]

Kayfabe: A Good Omens meta

"Kayfabe," in wrestling, is the performance (including outside the wrestling ring) of whatever storyline is being woven around the wrestlers. Breaking kayfabe is Serious Business for a wrestler; the illusion is part of the event. If you ever wondered how John Cena could anchor an entire HBO miniseries brilliantly, kayfabe is a big part of the answer.

Because of their histories and how their respective Head Offices treat them, Crowley and Aziraphale approach their version of kayfabe -- their whole "I am an angel! You are a demon! We're hereditary enemies!" schtick, also their "we are good bad proper little footsoldiers, honest, Boss" schtick to their respective Head Offices -- very, very differently.

I promise there's a point to this. I PROMISE. But let me walk through it first.

Both of them know that one awkward question to Upstairs at the wrong moment and its Fallsville. Crowley, however, knows a couple of things that Aziraphale doesn't have to:

Punishment isn't just once; in some ways, the Fall is never over. Beelzebub or Hastur can throw you in the Dung Pits whenever, after all, or feed you to a Hellhound, or zap you like an Eric. Crowley's lot do not send rude notes. (s2: we do not know what happened to Crowley after Hell dragged him back at the end of the Resurrectionists 'sode, but I think it safe to say it was not great for Crowley. Litotes: your key to quality meta.)

Downstairs can and does check in -- or drag Crowley Downstairs for a chat and possibly a bit of idle torture -- whenever they feel like it. Downstairs seems pretty disorganized, especially its leadership, so I'd expect ad-hoc surprise inspections from them. Downstairs can invade Crowley's flat's TV, his Bentley's radio, and his very mind to perform those inspections. Crowley is never, ever safe from this. He can't relax. Ever.

Heaven, on the other hand, has 37 levels of scriveners and zero interest in Earth. Talk of "reprimands" and "miracle budgets" and Michael being a stickler and whatnot suggests a formal review process happening on a schedule, governed largely by the dreaded (but quite possibly fake-able or spinnable) "paperwork" rather than direct observation by Aziraphale's peers or superiors. Otherwise, Aziraphale is usually left to his own devices. Remember how startled he is when Gabriel shows up at the sushi restaurant in s1? This is unusual!

(We also know from Muriel that Heaven's records office doesn't seem to get consulted a whole lot. It's possible this just means that first-through-thirty-sixth-level scriveners handle everything, but in my experience of large bureaucracies, it's the folks at the bottom of the hierarchy who invariably get run off their feet first. Don't see why Heaven would be any different.)

Moreover, Heaven's punishments seem pretty light, on the whole? Our angel is so anxious and so sensitive to slights that I'm sure the reprimands aren't fun, and nobody likes a reduced miracle budget... but Heavenly "needs improvement" reviews don't seem to be a patch on the Dung Pits. The real threat is Falling, which is more than horrible enough to serve as deterrent; Heaven doesn't need to add torments.

Moreover moreover, Aziraphale is mostly aligned with his Head Office in a way that Crowley really, really isn't. I'm sure Aziraphale does a lot of his Heaven assignments with a song in his heart and a skip in his step -- it's mostly not smiting or the like. Crowley... probably spends a lot of his work time figuring out how to obey the letter of Hellish law while defying its spirit. Crowley's in far more danger of angering his bosses.

So Aziraphale doesn't have to keep up kayfabe a lot of the time, not even while interacting with Crowley. He can and does save it for the rare occasions Heaven takes a personal interest. Crowley, however, must keep up kayfabe always, whether Aziraphale's there or not. The courage it must have taken that snake to slither up the wall of Eden!

The way Crowley navigates his permanent need for kayfabe is twofold. First, his all but instinctive refusal to accept any positive word or compliment about himself or his actions from anyone ever -- "I'M NOT NICE!" If Hell were ever to hear someone characterizing Crowley that way... That's also why Crowley is a bit less exercised when Jimbriel calls him nice: "nobody'll ever believe you."

Second, a species of Orwellian doublethink: maintaining a running commentary in his head of how he's going to justify any unHellish actions to Hell, since he can never know exactly when he'll have to or what exactly they'll have a bug up their butt (sorry, Beez) about. Even high as a kite on laudanum in the Edinburgh cemetery, Crowley can explain his current justification (in a curiously sober voice -- is Crowley ever really high in that scene? or is it all kayfabe? I lean toward kayfabe) to Aziraphale, "Not kind! Off my head on laudanum, not responsible for my actions."

We can see the kayfabe mismatch play out a few times, and it does appear that Aziraphale gets more concerned for Crowley's safety and more aware of Crowley's need for kayfabe post-Arrangement. That doesn't mean he always remembers, of course -- he wouldn't, he just doesn't have that same desperate need. And, of course, the ineffable walnuts do not communicate, as s2 went to some lengths to point out. I do think kayfabe is part of that -- it's hard for Crowley to be sincere when he's constantly doublethinking, and Aziraphale's off-and-on involvement with kayfabe (and all his other tendencies toward lying) disincline him to achieve or even learn about honest communication.

One s1 scene I went back and rewatched while thinking about this was the Globe scene, which contains Aziraphale's Saint-Peter-esque three-time denial of Crowley. I find it easy now to read that as Aziraphale going "oh crap do I need to drop back into kayfabe now? I didn't break kayfabe, did I?" and Crowley grinning, at least partly as reassurance. (Partly, of course, because Aziraphale is cute and funny even when kayfabing -- and partly because Aziraphale's sudden drop into kayfabe is Aziraphale trying to protect Crowley, of course Crowley's pleased by that.)

The wall pin, now that I think about it, also gains a little nuance from this. Crowley's fear-laced ire is genuine, but how many times must Aziraphale have heard Crowley snarl at him not to break kayfabe in this way? No surprise he's a little unimpressed. (With Crowley's demand. He's clearly very impressed by Crowley.)

In the s2 Job minisode, Aziraphale hilariously drops kayfabe (and that epic whole-body halo, loved that, great job FX folks) almost immediately. Crowley allows it, because Crowley is on firm ground -- Hell will be just fine with Crowley wrapping the angel in a Chuck-Jones-cartoon amount of scroll parchment and flipping him off.

When angel and demon collude on the con later, of course, they observe kayfabe, improv-style -- Crowley helps Aziraphale deal with the Job's-children situation without giving either of them away to the watching angel posse. Interestingly, it's Aziraphale who de-gecko-izes the kids. That gives Crowley an out, sort of: "look, the mansion collapse missed them because they were in the cellar, I turned them into geckos, totally Hellish thing to do, they'd never survive in the wild, but then this bloody interfering angel went and changed them back!"

And how does Crowley console a distraught angel who thinks he's about to be dragged to Hell? Crowley explains kayfabe in the fewest and clearest words possible. "Well, yeah, you did, but... I'm not going to tell anybody. Are you?"

So yeah. That's kayfabe for the Ineffable Walnuts.

But I promised there was a point to this, didn't I? Yes, I have a point.

My point is...

my POINT is...

my point IS...

(not dolphins, not this time)

My point is, how much of s2's Final Fifteen Minutes is kayfabe?

That's my point.

#good omens season 2 spoilers #gos2spoilers #gos2 spoilers #ineffable husbands #ineffable walnuts #kayfabe #good omens meta #the point is not dolphins

[noneorother]

So I don't know what bookshop Saraqael is snooping on, but it's not on Whickeber street.

Who was going to point out that this jank image of the "25 lazarii miracle" plume coming out of the bookshop is full of lies?

Look at this shit:

(click on the image to enlarge)

Here's a bookshop comparison from S2 Episode 6. Everything after B (the publisher's) should be on the cross street with the Chinese restaurant, but in the surveillance is cutting into the middle of a four story apartment, and continues down some random street with an office building (I). Also note the green section to the left of the bookshop is way too long in the surveillance (C), and is missing a poster and shrubs.

Here's another view down Whickeber street from Episode 1.

After the green awning shop, there should be a side street and then more 3 storey buildings, but instead we get a bunch of weirdly angled taller buildings smushed right next to E.

We never get a good view of the top of the pub, but from this angle we can see that it's Dirty Donkey Pub (F) after the bookshop, then the church which... is not even on Saraqael's view. G and H are mystery buildings, and F has some sort of corner protrusion that means it probably isn't even the pub.

Here's a good view of thop top of J, where that 5 storey apartment is supposed to be...

The only possibilities my brain can come up with is that Saraqael's map is in a different dimension/reality, or that the miracle is a result of Aziraphale and/or others physically porting a piece of Whickeber street somewhere it really shouldn't be...

------------------------------------------------------------ All thanks go to the @ineffable-detective-agency gang for pointing this out, I'm just the one of us yelling about it.

#good omens meta #good omens 2 #art director talks good omens #go season 2 #good omens season two #good omens season 2 #good omens #go meta #go2 #good omens prime #good omens analysis #good omens s2 #saraqael #crowley x aziraphale #aziraphale and crowley #aziraphale x crowley

[meatballlady]

It's time for the fandom to start Looking Where the Furniture Isn't

For a bit of background, one of my irl professional responsibilities is to identify and avoid making undue assumptions. There are a LOT of things that we humans assume. We assume that terminology means the same to other people as it does to us. We assume everyone has the same context of a situation we do. We assume that we aren't missing any information.

We operate on the information we have.

There was an ask before season 2 aired asking whether many of the plot points had been revealed by the clips (which almost all took place during the first half of the first episode). Neil's response was something like "oh you sweet summer children you know nothing yet." And boy was he right.

Neil Gaiman is a master of controlling assumptions. Just look at his Tumblr askbox replies.

Here's a few s2 examples of assumptions we all made (as I'm starting a rewatch):

Why did Crowley do the (very fun and distracting) apology dance? You might say it was because he walked out on Jim, but he never specified, did he? And Aziraphale was surprised that he proposed they would hide him "together"

How did Shax get a rumor about something going down in the Up (presumably) before Gabriel even went downstairs?

Did Jim need to bring Aziraphale something other than the box? He never actually specifies; Aziraphale just assumes it's the box.

Why did Aziraphale assume Maggie could feel [Michael, Uriel, Saraquael] arriving?

Why does Aziraphale say Heaven would notice even a small miracle? Crowley is seen doing a miracle before their large miracle (traffic light), and later Aziraphale makes the guy leave the table at the pub

To go deeper:

Are we assuming that characters are telling the truth? Example: "Miracles don't work like that," "[Extreme sanctions] was just something we said to frighten the cherubs" etc.

Are we assuming that nothing of note happened between apocalypse v1 and s2? (ex. the claims that Crowley didn't tell Aziraphale about the trial in heaven despite him referencing it in s2s1) What if we the audience are just jumping in near the end of this story?

Are these assumptions correct? Or are we just working with the information that we have?

Now that I'm looking for it, there's also SO many corrections of assumptions (usually for the sake of a joke, but still) (these are just the ones that happen while I type them out while watching e2):

"Can I be a blue one?" "You haven't annoyed me yet" "But can I be?"

"You recognized [Michael, Uriel, Saraquael] those people who were in the shop just now?" "Of course, they were in the shop, just now!"

"oh my god!" "blasphemy, angel, that's not like you", "no, oh, my god"

Many of the themes were about hiding things in plain sight: the kids (and kids), Jim, "aim for my mouth but shoot past my ear." Clue (1985) was heavily referenced in the lead-up. The whole point of that film was looking at what was going on elsewhere. Looking where the furniture isn't, you might say.

The more I watch s2, the less certain I am that any of it makes sense on its own.

I'm currently combing through it to see if there are any discrepancies with where people are (easiest example is when Crowley just disappears from the bookshop while they're reviewing the Job story). It'll be a lot of data and might not lead anywhere, but I'll definitely share once I finish looking into it.

I will also honestly admit that these things are all circumstantial, and I could be going insane. But they just keep cropping up all over the place. I've got a lot of time before S3 comes up and I intend to investigate the furniture. And try to not make assumptions.

#good omens #gos2 #good omens spoilers #good omens meta #good omens theory #aziraphale #crowley #s2 wrecked me #it's driving me insane #I'll be completely transparent on that front #looking where the furniture isn't

[embracing-the-ineffable]

The Ineffable Detective Agency presents more Ineffable Discontinuity and Suspicious Moments: Hawaiian Shirt / Pub Table Guy

Introducing... the extra/background character who makes Aziraphale do THIS, and then immediately has his table at the pub miracled away:

Jon Dan Duncan's imdb profile doesn't list Good Omens, not even as "uncredited" - which seems strange, because his profile does include the above photo of him. Since the actor isn't credited in GO, we don't have a character name or know anything more than what we can see onscreen. So, what DO we see?

First of all, when Aziraphale sees this person, he definitely has A Reaction. We were probably all too distracted by Azi stroking the thin dark duke to notice (as an aside, IS Crowley a Duke? Of what? Hell? Something else??), but after the 90th rewatch, it gets a bit easier to focus on these background details that are probably critically important to the story in ways we just don't understand yet. Look at this:

Did he mouth "stop" when he's supposed to be saying "sherry"? Maybe. These LOOKS, though:

We all know that Michael Sheen's expressions, no matter how tiny or fleeting, are very intentional. Who IS this mystery person??! Immediately after taking his table:

After whoever-he-is loses his pub table, he lingers nearby, and there's an interesting "ineffable discontinuity" - what he's holding in his right hand abruptly changes twice between camera cuts (sound on, if you want context for this small zoomed-in part of the screen, and try watching from your browser if the Tumblr app is cutting off the right edge of the image):

So far, our best explanation for the "ineffable discontinuities" - things that inexplicably and improbably change, like which hand is holding his drink or (coming up next) when he's behind Gabriel and then suddenly in front of him - is that we're seeing multiple timelines that are being knitted together in production to make them look seamless - but who knows? We'd love to hear your ideas! (Also, see the appearing Honolulu Roast sign in the coffeeshop, or Crowley's tattoo and sideburns, or the fandom's newest discovery (from @kimberleyjean and @bbbitchvibbbez) about Gabriel visiting his statue with "both" s1 and s2 Beelzebubs, plus the way the statue's cross is sometimes missing - just to name a few!)

Was the point in this scene with Hawaiian shirt/pub guy's right hand to draw our attention to this page of his newspaper?

"Unearthed mysteries of sealed library basement" - when Crowley told Shax that Aziraphale was "stock taking in the basement", was it true that there IS a basement in the bookshop? Basements apparently aren't that common in most of the UK, but London is famous for having "iceberg" buildings (where the basements are actually bigger than what's above-ground).

"Government approves funding for citywide charging stations" - We don't know, but it makes us think of all the electric cars used in s2 (it was an indoor set) and of Crowley throwing lightning in the street.

And the smaller headline on the right ... Hmmm. Can you read it? 😅 Maybe "Neighbor says New ------ park gate is ' too --- ' "

And it's not just the pub during episode 2! This mystery character is everywhere!

E1: He somehow starts out behind Gabriel, and then ends up in front of Gabriel with another extra on his arm:

E2: In addition to his appearance in the pub, he's also watching when Saraqael, Uriel, and Michael arrive:

E3: Our mystery character is there again when Crowley makes it rain, wearing his e1 shirt:

E4: We didn't spot him in this episode, but there are only a few minutes of present-day SoHo. Did anyone else see him?

E5: He has a doppelganger in a different Hawaiian print shirt! (Notice the different facial hair, among other things.)

Later in e5 he does actually make an appearance in the bookshop window for a quarter of a second (!!), wearing his e2 pub outfit, and maybe it's his presence that elicits this similar-to-the-pub reaction from Aziraphale?

E6: And back again to his black e1 and e3 shirt with the red flowers, while in line behind The Metatron, and then sitting at a table on the sidewalk, where he remains with the person in the turban who was in line behind him (and who also shows up quite a lot during s2) right up until Crowley drives away:

So, why have him wear such a noticable black shirt with red flowers on what are supposed to be three different days? Is he connected, with his Hawaiian print shirt, to the appearing Honolulu Roast sign? Why does he get a doppelganger in e5 - to distract us from his presence outside the bookshop before the ball? Why does Aziraphale react like this - TWICE - upon seeing this person?? (Much to Crowley's great confusion!)

And why does it seem that Aziraphale is keeping this person's presence/ identity/ importance a secret from Crowley?

As always, we'd love to hear your ideas!

Also, here's an earlier post from @theastrophysicistnextdoor about him, with gratitude for the inspiration to write all this up.

With appreciation for contributions from @noneorother, @thebluestgreen, and @embracing-the-ineffable at the @ineffable-detective-agency

Want to see more interesting posts, plus Good Omens clues and metas from all over the fandom? There's a huge collection here!

#ineffable mystery #good omens clues #Ineffable discontinuity #Good Omens extras #good omens meta #good omens analysis #good omens season 2 #good omens #Jon Dan Duncan #Ineffable Detective Agency #aziraphale good omens #crowley good omens #crowley #aziraphale

[snek-eyes]

Good Omens fic recs

Hello all! Wanted to share a few of my longtime faves. These are all pre-s2, might do another with my post-s2 recs? Narrowed it down to 10, since that's the max links tumbl lets you have in a post.

Any Way You Want It

Author: Justkeeptrekkin Words: 27,500 Chapters: 5/5 Rating: Mature Mood: Vacation, soft but introspective After finally getting heaven and hell off their backs (at a cost) Crowley and Aziraphale go on holiday to a cottage in Scotland. Fluffy with fun snappy dialogue, the two really feel like best friends here! Aziraphale struggles with his tendency to go slower than even he wants.

Instructions Not Included

Author: Atalan Words: 68,000 Chapters: 13/13 Rating: Teen Mood: Detective / Gen (There are feelings but it earns that slowburn tag) My "if season 2 isn't good, this is my season 2" fic. Now, I liked season 2, but this is still SO good. After the notpocalypse, Aziraphale and Crowley start a detective agency investigating supernatural happenings together. New characters include Raphael (who totally missed the apocalypse haha whoops), and a big spooky dog (whomst I adore). Note that while this fic stands just fine on its own, there is an unfinished sequel that imo doesn't leave off anywhere stressful.

When in Rome

Author: Kedreeva Words: 4,000 Rating: General Mood: The liminal space of nighttime conversations What happens after Aziraphale invites Crowley to oysters: Wings and reading. Tentative and innocent in those early days.

the deft, sweet gesture of your hand

Author: deadgreeks Words: 12,000 Rating: Explicit Mood: Hurt/Comfort, introspection A few years after the failed apocalypse Crowley shows up badly injured at the bookshop. Aziraphale has to help heal Crowley and save them both, and still finds the time to knit his feelings.

Chemistry

Author: Twilightcitysky Words: 122,000 Chapters: 19/19 Rating: Explicit Mood: Y'ever want a side of learning something with your romcom? After realizing they might need their own corporations to heal themselves now that they're not working for heaven and hell, Aziraphale and Crowley turn on all their bodily functions. All of them. What could be a silly premise is played out very satisfyingly, the actual biology of hormones at play here is fascinating. (this is not really at all related but: has anyone else read Peeps by Scott Westerfeld? Because the format reminded me of this in that it did a similar thing of playing straight the concept of "what could cause vampires to be real" that drew on inspiration from real life parasites interspersed between the chapters. I dig it. Anyway!)

Reservations

Author: AnnetheCatDetective Words: 10,000 Chapters: 3/? (Technically unfinished, but leaves off in a satisfying spot) Rating: Not Rated Mood: Meta (Character study as story) “There's some competition for Aziraphale and Crowley's usual table at the Ritz…” A couple of miracles bend reality and, well… you ever been like, “The boys need therapy, but who could possibly give it to them?” I love crossovers where the TV boys meet other versions of themselves, this one is my favorite.

i can't say the words, so i wrote you into my verse

Author: mygalfriday (BrinneyFriday) Words: 5,000 Rating: Teen Mood: Snapshots through history "Crowley has tattoos and every few centuries, Aziraphale discovers a new one." Simple and paints a lovely picture.

By Definition

Author: idiopathicsmile Words: 3,000 Rating: Explicit Mood: Smutty but fond A night together after the Ritz fic where Aziraphale is asexual and Crowley isn’t and how that works for them. The dialogue here is positively delightful.

Bark Dust

Author: rfsmiley Words: 8,000 Rating: Mature (mostly for injuries) Mood: Whump, Hurt/Comfort, Historical Crowley is very badly injured in a battle, and Aziraphale has to figure out how to save his life.

Tell Me A Story

Author: brilliant_or_insane Words: 5,000 Rating: Teen Mood: Soft and warm Aziraphale likes telling stories and Crowley likes to listen. But when the demon is dissatisfied by sad endings and can't relate to the happy ones, Aziraphale decides to move them forward by telling a new story. (Of course, Crowley isn't entirely satisfied with the angel's perspective on that one either.)

#Good omens #good omens fanfiction #fanfic recs #good omens fanfic rec #v watches good omens #Fic recs

[drconstellation]

Stocktaking in the Basement

Aziraphale's Edinburgh Journey: Part 3

Usually one would think of going through their memories as a learning experience as more of a "rummaging around in the attic" metaphor, since the brain, the keeper of memories, is in the highest part of our bodies. But one of S2's underlying themes is the looming Second Coming and the resurrection of the dead, so its underground that we need to head - to the basement.

Aziraphale does a great deal of "stocktaking in the basement" during his trip to Edinburgh. He recalls the encounter with the body-snatcher Elspeth and her companion wee Morag in 1827 on the way up, has his memory jolted by the statue of Gabriel to something more recent, then thinks about what happened in 1941 on the way back. We are largely going to deal with aspects of the 1827 minisode in this meta, and some possible implications for S3.

Lets have a look at why this year, 1827, was chosen for this minisode. The Anatomy Act of 1832 gave doctors and medical students legal permission to use donated bodies for research and educational purposes, and was made so to stop the distressing trade of body snatching that was occurring at the time. But this minisode isn't necessarily about stopping that activity, rather the reasons for doing it in the first place. Looking at Strong's Concordance, as we must, in the Greek, 1827 gives us "convince" or "prove to be in the wrong." This sounds about right for this minisode, which includes the conversation about poverty inducing more opportunities to be wicked, which somehow leads to holiness, from the book. The minisode shows how Aziraphale has this idea turned around for him - he's convinced otherwise, and shown how his initial beliefs about the practice turn out to be wrong.

Also, around 1827 is the time when the building of private mausoleums was at its peak. A mausoleum was (and still is) a display of wealth, so featuring one here plays into the story in the minisode of the virtues of poverty versus the rich. (It's also a call back to the origin of the Bentley's number plate, which was written on a mausoleum in a Monty Python sketch.)

Digging Up the Past

Shax does her own stocktaking when she receives the above push-back from Crowley, and realizes that Aziraphale is not in the bookshop at all at that moment, and goes looking for him. Later, she digs up his own dirty past to taunt him with, in an effort to make him crack and give up Gabriel.

But why is Aziraphale digging up this particular memory at this time? We know he is fond of Edinburgh and has visited many times, so this particular memory must contain something of importance for us to see.

There is the title of the minisode, some Masonic symbology and the metaphorical act of the snatched bodies as the dead rising from their graves which all point us in the direction of the Second Coming and Judgement Day, which we will cover in Part 4, so we'll put that to the side for the moment.

Changing Sides

Let's have a look at some of the blocking of the scenes in the Resurrectionists minisode. This wont cover everything, so if you do go back to have another look at it yourself, do pay close attention to who stands where.

When we first meet Crowley and Aziraphale in 1827, they are standing on what we think of as their "normal" sides, angel on the right and demon on the left. Elspeth, caught in the act of body snatching, is even further to the left, the real demon on the scene, which actually pushes Crowley back to the middle ground.

Straight afterwards, we see all three of them walking together through the streets of Edinburgh. Crowley is still in the middle, but now Elspeth is in the angel's position and Aziraphale on the far left as a demon, as they all discuss the virtues of poverty. Oh dear, Aziraphale, you're losing the argument here, and losing badly!

Inside Mr Dalrymple's rooms, Aziraphale decides to take matters into his own hands, where he thinks he is doing the right thing, and miracles the first body into soup. Elspeth is caught innocently in the middle of this, and Dalrymple is on the demonic left.

A conversation is had with Dalrymple following this. Crowley is hidden in the right-hand chair, Aziraphale, who needs to be swayed, is in the middle, and Dalrymple is still on the demonic left.

After heading back to the cemetery for another body, Crowley and Aziraphale inspect some of the protective measures set up to guard the graves. Crowley is still on the moral right, questioning if the rich are more worthy of being protected from body snatchers than the poor.

Despite changing his mind about body snatching, Aziraphale still ends up on the wrong side of the argument in the end. As a giant Crowley looks down on the two of them, its Aziraphale standing on the demonic left side as the virtues of poverty lose out once more.

Timely Lessons

Back to the fireside chat with Dalrymple. We have this heartfelt reaction from Aziraphale when he learns the preserved specimen he is holding came from a seven-year-old boy.

AZIRAPHALE: [takes the jar] Well, that's a foot. So it's definitely not a foot. [laughs] DALRYMPLE: That's my point. If you two smart gentlemen can't identify it, then what are my students to make of it? I removed this tumor from a seven-year-old boy. AZIRAPHALE: Oh. Oh dear. And… Is he…? DALRYMPLE: [shakes head] And that is why we need a steady supply of cadavers. We need to cut. If we can't cut, we can't learn. If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one? I'm just trying to save lives and teach students. I either end up with a knighthood or condemned as a resurrectionist and hanging from a rope.

This, I feel, is an important lesson for them, and it seems for Aziraphale in particular. Why? This part focuses more on his reaction to the tumor, rather than Crowley's, and when we focus on Aziraphale it has ramifications for the future.*

A physical problem is usually easily identified (such as the foot). But what if the problem is invisible, because its on the inside? How do you see into a body, find a problem and make it visible, if you have not been presented with this problem before? Or perhaps you know something is wrong, but don't know what to call it?

It doesn't even have to be physical, it can be a mental, or a psychological problem. One still has to learn how to "see" the problem, to identify what it is (such as a particular pattern of behaviour) and to know the best course of action to overcome it.

Crowley wishing for more murderers to facilitate Dalrymple's research is one thing, but not being able to save a 7 year-old boy...this is the theme of the death of innocent children we've seen repeated throughout the series (the Flood, Job's children, the aborted attempt on Adam, the Crucifixion, and the implications around Crowley's Fall, to name a few.)

This also plays into the "representation matters" theme from the end - you can't be what you can't see.

This is not a lesson about the fact that they care, because they do, but how they learn to see the real problem in the first place.** I'll be interested to see the matching scenes/parallels to this in S3.

The Two Dalrymples

It has not gone unremarked that there is a Dalrymple mentioned in S1 as well - Witchfinder Colonel Dalrymple, who made the fancy Thundergun that was taken to Tadfield to shoot the antichrist with.

Now we can talk about the connection between the two Dalrymples - they are both about removing "monstrosities" from humanity.

Take the line in the passage above: "If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one?"

As I've mentioned before, the root of the word monster is from the Latin for monstrum, "a divine omen (of misfortune)," but also monstrare, which means "to point out," which bring us back to this scene in S1, on the tarmac of the Tadfield Airbase:

Aziraphale took Witchfinder Colonel Dalrymple's Thundergun to remove the monstrosity that was Adam the antichrist to save humanity, and Mr Dalrymple the surgeon is trying to learn how to remove and save humanity from the monstrosity we know as cancer. I'm just making a spot now on my S3 bingo card for a third Dalrymple mention, that will no doubt have some connection to the removal of monsters and/or monstrosities from the world.

Balancing the Books

The final bit of stocktaking might just be the coldest part of the whole recall process.

When Aziraphale calls from the cemetery in Edinburgh, he mentions Dalrymple's fate to Crowley:

AZIRAPHALE: Oh, do you really think so? Um, Crowley… Do you remember Dr. Dalrymple, The one who bought, err… CROWLEY: Wee Morag's body. Not a doctor… A mister, yes! Yes, whatever happened to him? AZIRAPHALE: [reading pamphlet] He left Edinburgh in disgrace. And then he killed himself. CROWLEY: Mmm.

Mmm, indeed. They might have saved Elspeth from Hell to meet up with wee Morag again, but the count of souls was still balanced out in the end, with Dalrymple heading the other way. The last time we see him he is still on the demonic LHS of the screen in blocking as he pays for wee Morag's body. Hell had him marked well in advance of his demise.

Time to move on to Part 4: Judgment Day, where we look at all the signs that the End Times are approaching. Again.

Thanks to @vidavalor for the thematic inspiration for this post.

For further reading:

You Say Potato, I Say Excellent! Or blocking, accents and legacy of morality tales in ‘The Resurrectionists’ minisode PART II by @pommedepersephone

The linked post at the beginning Historical Analysis: class and injustice in 'The Ressurrectionists' minisode by @bowtiepastabitch is here.

An intro to Elspeth and wee Morag being parallel characters to Aziraphale and Crowley by @good-soupmens I'm going to follow up on this in Part 5.

*I explained in Part 2 that I believe we are being shown the future through Aziraphale and his parallel characters, Beelzebub and Maggie. Another reason for this is that in S1 is that Anathema is one of his parallels, and she is also caught up with living in the future through the prophecies of Agnes Nutter. In contrast, Crowley's story, and that of his parallels, such as Gabriel and Newt, are about the past and trying to live the life you want that isn't bound by expectations. Urrgghh, I can see I might have to expand on this somewhere later.

**Crowley, with most of his story in the past, shows us an example of this with his "looking where the furniture isn't" comment.

The other posts in this series can be found here:

Part 1: Detective Aziraphale Part 2: Aziraphale-Beelzebub Parallels Part 4: Judgement Day Part 5: I Know Where I'm Going

#good omens #good omens 2 #good omens meta #aziraphale #mr dalrymple #witchfinder colonel dalrymple #elspeth and wee morag #good omens 1827 #edinburgh 1827 #the resurrectionists #scene blocking #body snatchers #strong's concordance

[goonflower]

sometimes, i think about the will byers situation from nancy's perspective. how in the first scene, el finds will and everyone's so relieved. but then, when el looks for barb, she's already dead. and everyone just continues on, thinking about a plan for will. but barb's still dead, it's too late for her. and nancy just has to live with that, that will gets to come home but barb doesn't.

then the second scene - this whole time, her and jonathan have had their grief in common, but now they just... don't. because his brother's coming home but her barb isn't. like jonathan's still there for her, but not in the same way, he just can't understand it, not fully anymore. he can try to, but he won't understand nancy's grief in the same way. because he/the byers family/mike got a miracle and she didn't.

imagine how painful s2 must've been for nancy. seeing will walking around, knowing that barb didn't get to come back too. i wonder if she ever felt a little jealous of mike and jonathan and joyce, seeing them all with will. then, the guilt of feeling that jealousy when will was so young and it would've torn mike & the byers apart if it had been will who died instead. on top of that, everyone seems to have forgotten barb except for a key few people like barb's parents and murray and jonathan.

#stranger things #nancy wheeler #barb holland #will byers #byers family #jonathan byers #mike wheeler #st analysis #sad girl hours #thinking of nancy as the exit by conan gray now #like “feels like we had matching wounds [literally in her & jonathan's case] but mine's still black and blue and yours is perfectly fine” #bancy #nancy wheeler angst

[vidavalor]

(Non-Frozen) Peas. A Good Omens Sex Meta Thing Side Dish

Shorter little vegetable-themed side dish to Crepes, which you do not have to have read first. All by way of Aziraphale's dirty French in S2 about how he has a craving for Crowley's Eden.

*slips into GO fandom quietly* *whispers*

Do you all realize that another translation of Aziraphale's "Ou est la plume de la jardiniere de ma tante?" is...

"Where is the feathered garden box of my queen?"

I probably don't need to tell you that both 'garden' and 'box' are sexual euphemisms for lady parts and, to make matters funnier, remind you of this scene earlier in the season, in which a literal box became related to... well, it's somewhat open to interpretation so let's just call it a gasp-worthy, part-related situation. :)

"Where is the feathered garden box of my queen?" is Aziraphale saying that it's been a minute since he worshipped Lady Crowley and he misses her.

This would account for Aziraphale's impish "but you understood me" and flirty little smile and wiggles. He's so cute about it that Nina comes out of her coffee shop to try to hear what they're talking about that's made the bookseller look so alive and has Snarky Sunglasses all flustered.

Crowley's "Only because, for two hundred and fifty years, you've been wittering on about the plume of your imaginary 'tante.'" = "Only because, ever since you took French lessons the human way, I've had to listen to you euphemistically referring to my occasional wild flower garden and calling me your queen in two different languages and I love to hate how much I absolutely love it."

We know that Crowley did understand Aziraphale and not just because he also speaks French but because his traditional choices in translating it back to Aziraphale in protest-- "you don't have an aunt, she doesn't have a gardener and he doesn't have a... pen"-- is intentionally a bit incorrect because Aziraphale used the feminine French word for 'gardener'-- la jardiniere-- in his sentence. As a result, Crowley is protesting that "the gardener" is a he right now, Aziraphale, and he doesn't have a-- pause of 'wait, this isn't going to work if I translate 'plume' as 'feathers'-- euphemistic or literal-- as I have both so I'll go with the other thing the word means instead'--... pen.

(Which winds up even funnier since a pen is phallic and euphemistic, in this sense, for currently having a penis, which is actually Crowley's current state of effort in that moment. Hold those thoughts until we get to turnips and inkwells down below lol.)

A 'plume' in French is a pen, a feather, a quill, and a cloud of rising smoke. In Good Omens, it's also used in the smoke-like definition by Michael to describe the pink plume of magical energy that came from the bookshop when Crowley and Aziraphale miracled together. Crowley responded with 'pen'-- which is a riff on the fact that Aziraphale is riffing on "la plume de ma tante", a cliched line said derogatorily to mean 'those sentences that you learn when you learn a new language that you'd never say in real life.' Crowley used 'aunt', 'gardener' and 'pen' as the translation in reference to the cliche Aziraphale was referencing. Aziraphale, though, adjusted the line, as we saw-- adding words to it to make it a stealth, flirty request-- and Crowley did hear the innuendo. Crowley correctly heard Aziraphale using 'plume' in the 'feather' sense (hilariously, considering that they have actual feathers in their angel/demon forms lol), with the 'feather'-context 'plume' being euphemistic for Crowley keeping it real down below.

(It could be worse, Crowley. He could be in a blasphemous mood and referring to it as "The Burning Bush"... which I feel like you'd actually find hilarious but anyway, moving on...)

In English, appropriated from the French, a 'jardiniere' is a flower box/garden planter. 'Tante' is French for 'aunt' but it's also a word meaning both 'queen'/'pansy' in the queer sense of the words (a 'pansy' also being a kind of flower, of course, adding to the Eden motif that "*the* Southern Pansy" Aziraphale has going on for his gardener partner here) but 'tante' is also one of the words that just means 'queen' as well, in the 'regal' sense of the word. It might not be the first word Aziraphale would use if he were, instead, speaking a sentence in French about, say, Queen Camilla-- but it's maybe a more appropriate one for flirting with his gender-everything partner by telling him in French that it's been too long since he spent some quality time with his queen's jardiniere.

'A la jardiniere' is also a French cooking term. It translates as "in the manner of the gardener's wife" (Gabriel: "Whatever that is."). It is obviously an archaic-sounding term when it comes to gender but, for the purposes of metaphor here, it's actually a little useful. The phrase is born out of the idea that the chef would be male, straight and married and that his wife would be keeping their kitchen garden-- which, even though she was probably running it, is credited to him, because the patriarchy-- from which fresh vegetables could easily be picked and used in a dish. As such, it's a lot more fun that Aziraphale is using the French here because the actual gardener doing the garden work in the definition of 'jardiniere' is specifically female by the term's description, so it's another way to reference Crowley's femininity.

There's also, of course, that "in the manner of the gardener's wife" is about as porny a definition for a phrase that can possibly be translated from one language to another lol and so adds to the idea of 'jardiniere' being sexually euphemistic. Atop that, there's the fact that the word itself relates food to romance and sex by referring to the chef and the gardener as married in its definition. The second half of this scene is the Nina & Crowley "partners" conversation. In a season that has Crowley and Aziraphale unable to deal with words like 'couple' and 'partners', if only Maggie and Nina understood that maybe they don't know how to use traditional words but damned if Aziraphale isn't already on covertly calling Crowley his spouse when flirting with him.

While 'a la jardiniere' is a cooking term, 'la jardiniere/jardiniere' is also a French food term. It is a side dish or a garnish of mixed vegetables, usually spring garden vegetables. So, carrots, green beans, potatoes (Crowley: "You say 'potato', I say 'excellent'" lol), turnips (Aziraphale can turn garden variety sex into inkwells!-- haha 'garden' pun, get it? please send help-- and inkwells are the things one dips a quill pen into.... and, now, we're back to the 'pen' translation of 'la plume...').

The most signature vegetables of jardiniere, though, are peas.

As Crowley would tell Shax and anyone who will listen, literal ducks-the-water-fowl need not get their actual jardiniere defrosted.

Aziraphale-- the more discerning duck-- likes his hot, though.

~~~

If you have not already and would like to read more meta like this:

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #good omens meta #aziracrow #crowley x aziraphale #good omens s2 #genderfluid crowley

[persage]

A little less awful - Shane Walsh

Summary: When Shane comes close to losing you, he realizes that just the idea scares him more than he thought. But things aren't easy, not with a man like him.

(Post S2) Shane Walsh x Reader

Usually I only write about Steve Harrington, but this time I wanted to try something different. I know Shane isn't the good guy, I know he's not that loved too, but he's given me a great inspiration to write (and then every once in a while my love for morally gray characters takes over) so here's this little work because i admit, it's my fault, but i wish I could see more of Shane. Also my man Jon Bernthal deserves everything.

Words: 3k

It's a rustle in the middle of the meadow, broken branches and trampled dry leaves. The noise of quick footsteps and heavy breathing approaching. A thud, a moan and then footsteps again. You run fast in the direction of an abandoned house and behind you a horde of walkers is chasing you, so many that this time you can't help but think it's over. Really over.

You've been scared many times since this hell started devastating the whole world, your life and erasing what you've known. You were scared when you saw your father transform, your friends die -  by the walkers or equally monstrous men - but you have never  feared for your life like you are doing now. It's just that things have been going well for a while, far too long, and you felt like you could manage to live in peace here. You were obviously wrong.

You have only one thought in mind. It's the face of a man, his strong features, short hair that is growing back,  eyes darker than the night, so full of demons that only you know how to keep at bay. If you don't reach the cottage soon the walkers will make you their meal and no, you don't want to die. For you. For him. He'll never admit it openly, he's not a man of big demonstrations, but you know you're the one holding him together, that if you die he falls apart.

Also you don't want to die before hearing those words leave his lips. You don't want to die before you know that there is still some hope in the world, some kind of love. Above all you don't want to die to feed these damned monsters.

Out of breath  you let go in a cry of frustration, while you feel your legs getting weaker the only thing that drives you is the adrenaline. With one last desperate shot you reach the house and he's here, rifle in hand, ready as always.

"Shane!" you scream. You have never been so happy to see him in your life.

"Go inside, hurry!" he replies as bullets whiz through the air, impacting what remains of the walkers rotting skulls. You mentally thank the fortuitous coincidence that made you find an armory on your path weeks ago, there was nothing left but an old silencer hidden in a corner. Your little miracle. You see Shane drop his stoic mask for a moment when he runs out of bullets, or maybe it's the rifle jamming, you don't know, you don't understand and you don't have time to do it, you grab the hunting knife placed on the chair behind you, in the small veranda of the house. With a small jerk, ignoring his protests, you move away to stab one of the two remaining walkers in the head, splashing all the blood around. Shane is immediately at your side, ready to kill the other with his dagger. Then, making sure they're all dead, he turns around and, with his back to you, walks towards the house.Your home. You silently observe the tortured dead bodies. You wonder if one day you'll find a familiar face among them, you wonder if anyone will find yours, if they will ever have compassion.

You don't have any, you can't. Shane taught you that you don't have to have any to survive.

"Shane" you began by breaking the silence as soon as you reach him, leaning against the wall for support. You're so tired you just want to fall to the ground, but you can't. You don't want to be weak, not in front of him. He 's always so strong, ready, invincible.

Sometimes you wonder if he's even human.

When you found him wounded in a field months ago, none of your old group gave him a chance of survival, no one wanted to take him with you except for you and Arnold, a former war doctor. Arnold was good and if it wasn't for him Shane would be dead. It was your job to take care of him. He was unconscious and in the throes of a delirious fever and you dragged him along with a makeshift stretcher made of wood and rags for a day and a half without respite before finding a place to let him recover. The other members of the group left you with him and you didn't object, because people who leave behind a wounded but alive man - in a world where being alive is a privilege - will do the same with you.

Shane woke up 3 days later. It took him weeks to recover. He never told you what happened to him, he only said he deserved it. You didn't believe him, cause in the end you wanted him to be a good man. You wanted to know saving his life was worth it. Then you hit the road again, Arnold died and you two were left alone. You've become each other's only comfort, even though Shane Walsh is a difficult comfort, a difficult man that you sometimes feel you don't know. know nothing about. It's Ironic since he the only thing you have left in the world.

With the bloody knife still in hand he walks towards you. He's not threatening you, he wouldn't hurt you and you know it, that's why you stay still. "Y/n fuck! why do you always mess up? You're not able for once to....Keep quiet, not go wandering around almost getting caught by those bloody walkers. No cause there's always fucking Shane to save you ass" He yells. You look into his eyes for a few seconds.

"You could have left me there"

You reply without a single emotion in you voice, moving away from him without looking back. You know Shane is trying to grab your wrist, you know he stops before doing it. He looks at his arm outstretched towards you, the muscles, the hand shaking with anger and fear. He dropps the knife from his other hand and brought a hand to the back of his neck like he always does, then let it slide over his face and when you are gone, hiding in the only room of the house, he let himself slide to the floor, caught in the realization that this time he could have really lost you. That it can happend at any moment and it's not that he hasn't thought about it before but this is time... It was so close. So real. He feels something acid rise in his throat, a knot, a block of cement. He would like to throw up.

He wasn't there to protect you, like always.

Like he has never protected anyone, because Shane isn't able, because Rick has always been the one able to defend his people. He misses him, his brother.

He also misses Carl. And Lori.

They were family, the one he wanted to protect, the one he destroyed without apology or justification.

You screwed up, Walsh.

He looks at the closed door of the bedroom and Shane wonders if he's destroying you too. Since the moment he opehas opened his eyes and saw you cleaning his wounds he has decided he wanted to be better. he still does, he wants to try to find himself - the man he was before all this, who ran to the hospital to save his best friend, the policeman Shane Walsh - but a good person doesn't treat their loved ones like he treats you.

A good person doesn't hurt someone he cared about like he is hurting you, like he is ruining you with his only presence here. A good person wouldn't stay in this house so long. No, he should have followed the original plan: find you a safe place, with other good people because there must be someone like this in the world. Maybe Rick. He should have find him leave you with him and you would be safer.

He will do it.

Then he will go away forever, so as not to stain yourself with his darkness, with his madness. Because Shane has now discovered a beast in himself and is afraid that the time will come when he will not be able to contain it again. Truth is that every day he repeats himself that you will leave the next one and it never happens and every day the idea of letting you is harder to accept cause he is just an selfish peace of shit.

When evening falls, you barricade yourself in the house and light the fire in what is left of the fireplace, in silence, with brusque gestures that reveal nervousness. Shane kicks out a couple of squirrels and starts quietly skinning them with his knife, like Daryl taught him to do a while back. He throws you one without even looking at you and you sit cross-legged around the hearth, to roast what little meat you can get. You lack real food.

You're hungry and you're tired and you want to cry, but you don't.

Shane would think you're crying for him and it's not like that, really.

You don't care about his reaction, you don't care about his outburst and you don't care that he doesn't talk to you, that he doesn't trust you and that he keeps his distance when you just want human contact. It doesn't matter that he touches your hands and then builds walls between you, that he kisses your neck at night or holds you in your sleep like you are the most precious thing on earth without ever taking an extra step towards you. You don't care about these things, they can't matter when you're experiencing the end of the world, right?

You eat looking down, obviously hungry. Shane instead looks at you chewing slowly. Once finished he leans on his elbows, he sighs watching the fire dance in front of him, then you again, illuminated by the orange light of the flames.

You are pretty. No, you are beautiful.

Shane knows it, he's always known it, but now it's like having an apparition in front of his eyes. You're perfect even now, tired to the point of exhaustion, with dirty hai and badly tied hair while eating a squirrel. You're beautiful and you're the only thing he has. His angel, his savior. And he has no right to desire you, to have you by his side. He has no right to look at you like that. You lift your head crossing his gaze with arched eyebrows

"What are you looking at?"

"I'm sorry I yelled at you." he replies unexpectedly. You throw away the remaining bones and clean your fingers as best you can, trying to have a semblance of elegance under his watchful eye. You hug your knees, sinking your face into them. Shane tilts his head, trying to catch your expression. He knows you're on edge and he's terrified of seeing you cry in front of him again, he's not good at that sort of thing anymore. Once, oh, once he was very good but now, now he's afraid of always making mistakes and he prefers not to try for fear of hurting you more. He doesn't want to hurt you, he can't bear the thought of letting anyone else down. He would rather die. And he hates that you have met him now, that you will never know a world where he was just Deputy Shane Walsh, and not Shane Walsh the survivor who tried to kill his best friend, the one who was sleeping with his wife, the one who wanted his family, the leader no one wanted, the hero no one recognized.

Shane Walsh, the villain from someone else's story.

"I'm sorry I made you angry." he adds, with a strange softness in his voice.

It hits you. Usually he would have just waited for your anger to subside and everything would have returned to normal, but something inside him changed and he couldn't say when. Stupid lonely man, stupid weak heart.

"It doesn't matter."You reply. You've almost resigned yourself to always seeming the weakest, it was like this even before, with your group and it's like this now. You want so much to look strong for a moment and show Shane how much potential you have, but after getting chased by a horde of walkers for trying to hunt something for him you think you've lost all hope. A cold shiver runs down your back and you unconsciously try to warm your arm with one hand

"I was a fool." You continue letting out a little sad laugh. You approach the fire with disjointed and awkward movements and he smiles without realizing it, finding your awkwardness terribly cute. He has seen you run miles of tree-lined paths, jump and scramble for survival with extreme ease and then you get stuck at the simplest things. It's sweet. Shane always says your problem is that you your head too much "And you don't use it at all"

He shakes his head, gets up and goes away. You, lost in thought, stare at the fire without wondering where he is going. When he comes back a few minutes later he has a blanket in his hands and sits next to you draping it over your shoulders.

"Thank you..." you whisper. "You must have thought I'm weak." Shane shakes his head again in disagreement

"No." he answers. You nod, holding back tears and rest your head on his shoulder slowly, for fear of a rejection that won't come. Before he can even feel your weight against his body, Shane is already hugging you, squeezing you affectionately. The truth is that he cares about you, he is afraid of losing you because he knows that if he loses you, he loses everything. His purpose is to keep you alive, to find a better place for you. Today he got scared but he never thought of you as weak, after all if you really from walkers, you would have been one of them. The only thought makes him shiver. You don't deserve such a terrible end.

You raise your head with slightly shining eyes and just smile tenderly. "Even if you treat me badly sometimes, I know you're a good person, deep down." you say. Shane looks you in the eye. His gaze is veiled in night yet sparkle with a new light that you have rarely seen in him and that you recognize immediately.

Affection. Devotion. Lust.

Shane wonders how he can hold on, how he can keep you away when you're the only thing keeping him grounded, wonders how he's done it so far because now that you're so close, with your soft skin ready to be kissed, he understands incredibly difficult. He Imagines the sensation of your warm skin under his big hands, the way your nails could dig into his back, the way your little hands would grip his shoulders, the softness of your voice becoming a moan softly begging his name.

He looks away, he'd better never have such thoughts. He couldn't think of you like that, you're... You're still good, still uncorrupted by the new world, still willing to believe there's something good in the world and he doesn't want to screw it up. But you don't care about this, about what he did, what he could do. You care that despite believing himself evil and dangerous, Shane Walsh has always protected you.

He has kept you alive. He has caressed you, with his fingers barely touching you, while the world tried to suffocate you. And you want more now, you want to discover all that Shane Walsh can be and give, you want to discover what it's like to be a part of him. He turns his head towards you again and it's the anticipation of something, the trepidation of a moment, you shiver under his warm and slow touch. His fingertips brush your ears as he brushes the hair away from your face.

"Are you still cold?" He asks. His voice is hoarse, broken. This strong and intrepid man you've seen defeating monsters, now he almost seems to be afraid of you. You grab his hand, he lets himself be guided as you bring it to your lips and kiss his fingertips.

"Y/n" he whispers.

"Don't say we can't, don't say that," you mutter.

"I can't... I don't" You shake your head.

"But do you want, Shane?" He can't deny it, he swallows letting his gaze run between your eyes and your lips, so damn close to his fingers that he feels your warm breath tickling him. "I don't want to hurt you"

You smile. "Let me" You begin "Let me prove to you that you can't hurt me Shane." he remains motionless, closes his eyes, a gesture of surrender as you approach and place a kiss on his cheek, long, then one closer to his lips. You hear him sigh as he grabs you by your hips with his big hand, squeezing the fabric of your sweatshirt.

"Shane" You whisper, moving towards his neck, leaving moist kisses in the way drawn by his veins, you can feel his heart beating and you think that today this is all that matters.

Warm flesh, beating hearts.

You and him.

Shane decides that right now he needs nothing more than to stay here. With you maybe the world will seem a little less awful.

#shane walsh #shane walsh imagine #shane walsh x you #shane walsh x reader #twd x y/n #twd x reader #twd imagine #the walking dead #the walking dead imagine #the walking dead x reader #the walking dead x you #jon bernthal #jon bernthal x you #jon bernthal x reader #frank castle #rick grimes x you #rick grimes imagine #rick grimes x reader #daryl dixion imagine #daryl dixion x reader #daryl dixon x reader

[aduckwithears]

Let's Talk Laudanum - a GO meta

Hey all - I'm gonna preface this one with a tw/cw for opioids, death, suicide, and substance abuse ok? It shouldn't be too heavy (just canon typical), but I don't want anyone surprised.

Ok! I've been watching some of the Good Omens s2 behind the scenes specials, and in the "Grave Danger" clip it mentions that Laudanum is "...a very intense kind of alcohol, or like ethanol, that would kill somebody…" which is not actually true. In the show itself we see the bottle:

Which confirms that laudanum is a combo of Opium (45 and 1/2 grains per ounce) and Alcohol (40%).

It also says Poison and CMOT Dibbler... The poison angle (is it poison? well yes... if you take enough) has been covered in another post by @queerfables who talked about the make up of laudanum as well. CMOT Dibbler is a great nod to Sir Terry of course :)

What do I want to add? That yes, laudanum is in fact an opioid, and was actually an incredibly popular and over-used drug in the 18th and 19th centuries, both in real life and maybe more importantly in novels of the time. Proceed under the cut!

In my non-duck life I work in a field with some familiarity with opioids, so I also want to add that while yes, opioids can make you loopy, they are ultimately a soporific (meaning a sleep aid, a downer, a relaxant), a pain reducer, cough suppressant, and a respiratory depressant. That last bit is why they can be deadly in the case of an overdose.

So let's get back to laudanum. Yes, it was used post-surgically, but quite often would also be prescribed to (predominantly) women with various aches or pains that their doctors couldn't (or wouldn't bother) investigating. Subsequently women would become addicted to the opioid, needing more and more to achieve the desired effect, leading to eventual death or any of the other mental, emotional, or socioeconomic ills of addition.

Given the above and the era's fascination with the "sexiness" of wasting diseases such as consumption (hmmm, cough plus pain, perfect for treatment with laudanum!) laudanum was also a little bit of a romantic drug. It was also popular in novels of the era such as those in the Gothic Romance genre. (A quick peek at Wikipedia turns up lots of examples... though I'm sure a literature expert of the era would have lots more to add.)

All of which to say! The Resurrectionists as a minisode is channeling some pure Gothic Romance (think Mary Shelley's Frankenstein - pub 1818, etc) so laudanum is the PERFECT poison for Elspeth to pick. It dulls pain and at sufficient doses suppresses the respiratory system to the point of death. Without the modern miracle of Narcan or naloxone, death is all but assured. Of course, then, enter Crowley.

You know what laudanum doesn't do? Give you an Alice in Wonderland experience and make you specifically shouty about people not killing themselves. Now, this could be how opioids affect demons (it's possible), or the more entertaining option is that Crowley has no clue what laudanum is or isn't supposed to do, saw the poison and alcohol label, and decided to have a bit of fun while doing some deniable (the laudanum made me do it! honest!) good. It's also handy that he doesn't need to do mundane human things like breathing. So he gets to sing about Scotland, save the human, and get hugged by Aziraphale - pretty good day... until he gets Lightning Sanded to Hell.

I'll just add here that the laudanum plot line works well if we are taking the minisodes at face value... OR if we are reading them as Aziraphale's version of events of the past, especially with the literary aspect.

Bonus: If you've made it this far, maybe you'll come along with me on a little cross-fandom jaunt.

I'm also a massive fan of the Aubrey/Maturin series - Patrick O'Brian's books set in the early 1800s and starring Captain Jack Aubrey and Doctor Stephen Maturin. If you've read the series or even watched the Master and Commander movie you may know... those two characters have their own odd couple thing going on and quite a collection on AO3 :) . Anyhow. In the books Stephen is hooked on laudanum for a good while, mostly to dull the pain of a love that cannot be acted on. That's actually what got me started thinking about this post since there are certainly some parallels there.

Thanks for sticking with me on this ramble!

#good omens meta #the resurrectionists #laudanum #tw opioids #tw substance abuse #tw death #1827 #good omens s2 #good omens 2 #the resurrectionists minisode #a duck talks #gos2 #good omens #aziraphale #crowley #tw suicide