Interior, Cake Shop - Aimee Erickson , 2019.
American, French b. 1967 -
Oil on panel , 23 x 32 in.
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ohhhhh I just realized the point of the fucking coffee shop AU. like, there's many points to the coffee shop AU. but...harrow in the coffee shop AU proves definitively that she would fall for gideon in any life, regardless of their relationship. no matter the circumstance - harrow would love gideon if she were nobody, if she was nothing more than a cute barista with a flirty smile. gideon, on the other hand, is quite clearly under the impression that harrow only loves her because she is her cavalier. she places being harrow's cavalier as evidence of her importance to harrow. as long as harrow accepts her as her cavalier, then she can never be nothing to harrow, because one flesh, one end.
even as kiriona, she's just waiting for the day she can swear to be harrow's cavalier again (get in line, thou big slut!). but harrow doesn't care if gideon is her cavalier at all - she loves gideon, just gideon.
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harrow's dark and twisted mind........ wellspring of such sinister contemplations as 'I believe in the co-existence of soup and murder' and 'what if griddle worked at a coffee shop and it was -- and I cannot stress this enough -- SO fucking sexy'
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So it turns out Give Me Coffee or Give Me Death plays Queen instrumentals, and after listening way too hard to the coffee date scene, I gotta share how well the part of the song they used fits.
Crowley gets a fantastically dramatic entrance to the section that makes everyone feel things:
Mama, ooh
I don't wanna die
I sometimes wish I'd never been born at all
Great for a snake having an existential crisis. Then we get the instrumental break, which builds until it drops off right in time to highlight the comedy of:
Until Aziraphale says:
I see a little silhouetto of a man
He sure did!
Thunderbolt and lightning very, very frightening me
Of course you are, bud.
(Galileo) Galileo
(Galileo) Galileo
Galileo Figaro
History jokes!
Spare him his life from this monstrosity 🥲
And there's a reason beyond the dialogue why this part feels so stressful, because it gets the back and forth of:
Easy come, easy go, will you let me go?
Bismillah! No, we will not let you go (Let him go!)
Bismillah! We will not let you go (Let him go!)
Go back and listen to the scene, it's a very subtle joke. 😄
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Machete and Vasco are so pomegranate-and-the-hand-that-slices coded. To me.
Pomegranates are seen as messy, bloody, inconvenient fruits. You slice or tear or bite and in return for your effort you come away underwhelmed, disgusted, and stained too deep to wash. The consumption of a pomegranate is a violent act of defilement, for both the fruit and the eater.
But that is because most do not understand how to open a pomegranate. They have little patience for the precise carving. They see no point in coreing the fruit gently, no reason to be reverent as they pull the quarters apart. When done correctly, opening a pomegranate leaves little mess. Your fingers will still stain, your knife will still slick, but there will be no pool of crimson drowning both you and the fruit.
The seeds are only sweet to those who understand the merit of a light hand and intricate slicing. Why put in so much effort for a food so bitter and clearly armored against consumption? Surely it must not yearn to be eaten.
(^insane about silly catholic dogs)
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modernAU!gideon wrote this post. to me. (cloth barista is corona, wire barista is harrow.)
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Yiannis Tsarouchis (Greek, 1910-1989), At the Grocer's, 1963. Oil on canvas, 71 x 100 cm.
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