#st: 2.06

[raiderlucy]

Endless Gifs of Steve Harrington (73/?) Stranger Things • 2.06 The Spy

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[vidavalor]

Crepes: The 1.01 sex meta thing

Alright, my romantic and horny murder hornet friends...

...come and get your very requested 1.01-scene(s)-that-shows-that-Crowley-and-Aziraphale-are-lovers sex meta thing.

We'll be getting a bit blush-inducing NSFW under the cut so keep that in mind...

As Fraulein Maria suggests: Let's start at the very beginning... a very good place to start... when you read, you begin with: A, B, C...

...when you speak Ineffable Husbands, the show tells us, you begin with: lunch, alcohol, and crepes...

We're going to do this semi-glossary-style, since those have proven popular and it works well for this. There are some very brief mentions of Satan's attacks on Crowley, for those that would like to know of that ahead of time. Other than that, I don't think any other trigger warnings apply.

"Gentlemen, in your role as the audience, could you, perhaps, give us more to work with?" -- William Shakespeare, 1601, meta-ing for the writers and performers of Good Omens, requesting us to dive a little deeper.

Temptation accomplished.

~~~

Secret language. A language spoken by secret agents for the purpose of keeping the full, true meaning of their conversation hidden by those who might be observing them. Comprised of code words and phrases that contain other layers of meaning beneath the more easily understood surface layer. Difficult-- and, at times, impossible-- for those who do not speak the language to understand it without a key that unlocks at least one word of the language, revealing the hidden conversation beneath the surface.

Key. Additional context that reveals hidden meaning in a secret language by providing understanding of other layers of meaning beneath the surface in a conversation between secret agents.

Example: some bleating goats in 2500 B.C. illustrating for Aziraphale via additional information and context the true meaning of Crowley's words in the scene. Most keys in Good Omens are separate scenes; this one is an exception because it's the origins of their secret language in the first place. This is also a partner scene to the "no nightingales" moment in 2.06.

Partner scene(s). In Good Omens, a scene or scenes which act as keys to other scene or scenes, providing information and context necessary to fully understand the initial scene, which is usually one we saw earlier in the story.

Example: The Bullet Catch scenes in The Blitz, Part 2 in S2 adding layers of context and meaning to both Crowley and Aziraphale with the paintball gun and Crowley giving the office workers miraculous escapes from death at Tadfield Manor in S1.

Crowley and Aziraphale. Supernatural secret agents of sorts, introduced to us that way by our narrator, God, who points out their penchant for meeting alongside human secret agents in St. James Park. They speak in a secret language that we'll call in this meta Ineffable Husbands Speak that only they-- and God-- speak fluently... but for which Good Omens has been slowing giving us enough information to learn how to speak as well.

Code words. Often neutral-sounding and very common words--by design-- in order to keep the hidden meanings of the secret language secret from outside observers by making it sound like everyday conversation. As a result, code words have dual layers of meaning: they refer to a literal thing on the surface level but also have a secondary meaning beneath that within the secret language.

Example, in Ineffable Husbands Speak: "dining at The Ritz."

To "dine at The Ritz" (in Ineffable Husbands Speak). Surface, literal level: to eat a meal at the restaurant at The Ritz-Carlton, London. Hidden level: to take steps towards being less secretive about their relationship and to live more of a life that is theirs together.

Code phrase/cypher. A phrase that sounds as if it has a single, understood meaning on the surface but is comprised of code words put together to convey a meaning that is hidden from anyone who might hear the phrase but does not speak the secret language. Impossible to understand unless you either created the language or were given instructions on how to speak it... unless you can come into possession of a key that can unlock it.

If spoken to someone who does not have a key to understanding it, they might possibly be able to recognize that you are speaking in a kind of code... but they will not have the understanding of the double meanings of the keywords, nor the context required, to figure out just what the hell you're talking about.

Example: "The clarinet can make beautiful music."

Good Omens included this scene right near the start of the season in 2.01 in which both Crowley and we the audience have no idea what Agent Fuzuli is *really* saying, even if his sentence makes technical, if not really contextual, sense. We can recognize from his over-the-top obvious spy-speak that he is speaking in code. They did so to highlight the existence of hidden language in the show and how important it is to unlocking more layers of meaning in the story.

Neither we nor Crowley expressly need to decode this particular sentence to understand what's happening in the story of Good Omens because Good Omens is not about the romance of Agent Fuzuli and his new paramour, the Azerbaijani Sector Chief. (Cupid!Crowley really out here matchmaking everyone in sight in S2 lol.) If it were, we would be needing to figure out what this clarinet and its beautiful music are all about. Instead, though, the show is suggesting that hidden language and decoding it is paramount-- but we should focus a bit more on the secret language of our main characters Crowley and Aziraphale instead.

Sexual innuendo/sexual euphemism: A kind of secret language in which something that is not inherently sexual is given a sexual connotation. Relies heavily on suggestive tone and context. Often full of in-jokes. Often done to soften talk of sex-- and, just as often, paradoxically, tends to make things actually a bit sexier. Relies on a sense of humor and so increases a sense of playfulness and fun between partners. Is flirting by way of creating a secret language out of innuendo.

Example: To "mend his shirt" in the (code-named) Mrs. Sandwich's sexually euphemistic speak, as brought on by Aziraphale's 19th century-era magic during The Ball, is to give a blowj-- well, actually, here: Crowley will define the innuendo for us through the use of partner scenes...

"Fine *stable* of ladies"... the horse statue where Crowley keeps his glasses in the bookshop... mending Aziraphale's shirt in a way evocative of mending Aziraphale's shirt...

Mrs. Sandwich. A "seamstress." Not her real name. A walking, talking intersection of secret language, innuendo and sex in Good Omens, whose name and the content of her scenes help us confirm we're on the right track in decoding Ineffable Husbands Speak.

Sandwiches. Popular, common food that can be eaten anytime during the day but are most commonly associated with lunch.

Lunch. Midday meal. What Aziraphale offers to buy Crowley in thanks for Crowley rescuing him from The Bastille in the Paris, 1793 scene.

Paris, 1793/The Bastille. Partner scene that acts as the key to the 1.01 scene-- and its subsequent scenes-- that shows the nature of Crowley and Aziraphale's relationship through their use of secret language.

Let's Have Lunch. The 1.01 scene that, when unlocked using its partner scene of 1.03's Paris, 1793 scene, reveals that Crowley and Aziraphale are lovers. How so? Read on. :)

Armageddon: Round One. The end of the world and what Crowley and Aziraphale both separately learn is in motion in 2008 in 1.01. They meet the following day to discuss it and the show tells us then, at the start of the story, exactly one bullet point on their shared timeline-- the very first thing we ever learn about the entire 6,004 years that they have been living on Earth together since the last time we saw them together in Eden. Something important enough that it received its own partner scene in the 1.03 Cold Open basically entirely to help decode this scene in 1.01-- and re-contextualize the 2008 minisode (and a lot more) as a result.

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

As Crowley & Aziraphale head through the park and argue over whether or not to stop Armageddon, they eventually reach the spot on the side street where Crowley has parked The Bentley. This brings them to not just a conversational impasse but a physical one-- there's nowhere left to walk because they're now at the car and this is when Crowley says:

"Well, let's have lunch, hmm? I still owe you one from..." At this point, we're too busy being charmed by this vintage-y angel and this rock star demon who lunch together on Earth arguing over Armageddon to barely notice the content of this scene and that might be by design. It is sandwiched between two other scenes, both of which understandably get a lot more attention: the "celestial harmonies" conversation on the bench in St. James Park and the kinky lunch at what we'll later learn is The Ritz. ("Lunch" in Ineffable Husbands Speak is not *just* the food kinky lunch, as we'll get into below.)

We also don't yet have the key the first time we watch this scene to decode it because we aren't given that by Good Omens until the 1.03 Cold Open and its Paris, 1793 scene. We can pick up on some vibes in this scene in 1.01 but unless we use the Paris, 1793 scene to fully decode Let's Have Lunch in 1.01, we aren't actually understanding what they are saying and, as Fraulein Greta Kleinschmidt would say, we must know what they are saying... (since we're all not Nazi Zombies, we'll be able to actually figure it out...) :)

...but we do now have the 1.03 Paris, 1793 scene so now, let's check out the moment this scene becomes, um, important-- and that is Aziraphale's response to Crowley's invitation to lunch:

Oh, what's this now...? Crowley owes you lunch from *when,* Aziraphale? From "Paris, 1793", did you say...?!

You mean from the time that you dragged Crowley to The Bastille to save you from a situation you put yourself in and could get yourself out of the entire time because you have a Neil Gaiman-Ask-confirmed, canonical thing for him rescuing you (and because, as a fun S2 partner scene suggests, rescuing you always does make him so happy) and you were so very grateful for the rescue that you offered *to buy him lunch*?! A lunch that this scene in 2008 will confirm you went and had together? A lunch that we had *an entire, separate scene about* in the middle of the 1.03 Cold Open-- alongside The Arrangement and the 1862 breakup and 1941 and the 1967 holy water scene, in terms of importance to understanding this relationship from the show's perspective? THAT LUNCH?! lol

Paris, 1793. The ONE TIME IN THE ENTIRE HISTORY OF THIS RELATIONSHIP lol that it can be safely said that Crowley absolutely, 150%, *most definitely does not owe Aziraphale lunch*. The time we had a whole extra scene over, just to confirm how much Crowley does not owe Aziraphale lunch from this one time in Paris in 1793...

Well, well, well... seems we have ourselves a key. :)

Lunch. Code word in Ineffable Husbands Speak. A code word that, when unlocked, helps to unlock additional language, as we will see.

If Aziraphale's reply to Crowley's lunch invitation is to say the one time in history from which we know Crowley doesn't owe Aziraphale lunch, then Aziraphale's reply is really in response to the hidden, second layer of meaning beneath the lunch invitation, which means that Crowley isn't just asking Aziraphale if he wants to go grab the midday meal together and Aziraphale is more than aware of that. As we will see from the dialogue below, this suggestion that they have lunch on the surface level is also, on the hidden language level, a suggestion that they have sex.

So, ok, let's try this 1.01 scene again, now that we've started to factor in the information we have from its 'Paris, 1793' partner scene from 1.03...

What Aziraphale Is *Not* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to time travel to The French Revolution for lunch; that he would like to go to Paris in the present for lunch; that he wants to go to their favorite creperie; that he wants to go get himself locked up in a maximum security prison so Crowley can come rescue him...

What Aziraphale *Is* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to go to lunch and also that he would like to go to *lunch*-- which is to say that he's in agreement that sex sounds perfect-- and that what he "wants for lunch" is a repeat of how they made love in Paris in 1793.

Let's repeat that because mmhmm lol...

Sitting there in the middle of the second half of Crowley and Aziraphale's second scene in person together, in the middle of the first episode of the show, is Aziraphale recounting sex he and Crowley had over 200 years prior to when this scene is taking place in response to Crowley's suggestion that they shake off the Armageddon blues by sexy lunching their way to spending the night in Aziraphale's bed.

This conversation on the surface is about going to lunch and they are very funny with the literal part of their secret language, as they will actually go to lunch, as we know-- and during that lunch, Crowley will make a joke about the dual layers of meaning of their language when defining the next word in their language for us, which we will get to in a moment. For now, though, let's just go back to the "let's have lunch" scene here and look at the rest of it now that we can understand it on both levels of meaning...

"Well, let's have lunch, hmm? I still owe you one from..." Crowley does not actually owe Aziraphale lunch; this is a way to throw the decisions to him, keeping it sounding like they are just talking about eating lunch-the-midday-meal on the surface when we now know that it's more than that. He trails off and both verbally and non-verbally indicates a whole "you tell me" attitude, having offered up the idea and now giving the choice to Aziraphale. (It's not a magical influence "you tell me" like he did with Sitis, just a verbal ellipsis/non-verbal head shake that hands the conversation over to Aziraphale.) As a result of this and their responses in the rest of the scene, this becomes:

"Well, let's have lunch, hmm? I still owe you one from..." Well, let's have sex, hmm? Let's do our kinky lunch thing. Tell me what you want for later and we'll do that. Whatever you want. Armageddon already fucked up our lunchy dinner that we were supposed to sneak out to have at the fascinating little sushi restaurant where they know you last night-- it can go fuck itself for the afternoon. We're both depressed and tired. Eleven years left. We're almost out of time. I just want to be close to you. Let's have lunch.

"Paris. 1793." I could eat. I never can resist you, you know that. Remember Paris? After The Bastille? I'd like that.

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

Someone had a very nice time in Paris in 1793 if that little smile and that look and the little "yessss" are any indication. Crowley is down with revisiting The French Revolution and after this, they're both just heading to The Bentley as they continue talking because lunch is on. But why are we even talking about Paris 1793 when we have all seen this episode and know they aren't about to instantly drive back to the bookshop and get their Bastille on?

Anticipatory kink. When partners arrange to have sex in the short term but not immediately and spend the interim time discussing the sex they plan to have as a way of arousing one another over anticipation of the future lovemaking. A form of psychological edging/delayed pleasure. Fancy way of saying 'teasing the fuck out of each other' lol.

The first part of lunch for Crowley and Aziraphale is deciding what's for lunch-- before they go to have lunch-as-in-some-food-- even if part of lunching is that they aren't going to have sex for hours still to come. In addition to the anticipatory element, it's just fun to talk to your partner about sex and the way they do so also has them euphemistically refer back to past times they made love as a way of turning each other on with the memories of those past encounters-- so, doubly fun.

"Yessss. The Reign of Terror. Was that one of ours or one of yours?" Crowley's response to "Paris, 1793." He says 'The Reign of Terror' a little sarcastically, implying that while that is the historical name for the era, he and Aziraphale were actually pretty happy during it, which goes along with what we saw in The Bastille scene. On the surface, though, Crowley and Aziraphale are still attempting to make it sound like they're talking about The Reign of Terror so, technically, "was that one of ours or one of yours?" is a question that is supposed to be about who (Heaven? Hell?) was responsible for The French Revolution but oh, that Paris, 1793 scene is a good partner scene as we know the answer to this question, too...

The French Revolution. Not Crowley's demonic work. The humans thought it up themselves. Established in the Paris, 1793 scene, to help us better understand this bit of the Let's Have Lunch scene.

"Was that one of ours or one of yours?" Look at the wording of that. By definition, since Crowley is speaking to Aziraphale, the "ours" has to include Aziraphale. It's a subtle but present indicator that this isn't entirely smooth language on the surface here because it's accounting for two layers of meaning at once. If it is just about who is responsible for The French Revolution, the sentence doesn't actually make sense but that's because it's designed to sound like something of a casual reply to the surface question about The French Revolution but this conversation is now happening more on the second, hidden level and there, it really means:

We had all the sex in Paris in 1793, angel. Talk to me more about what's got you all hot for The Bastille. I remember all of it but want to know what's lighting you up here so to keep us talking about it, I'll start throwing out some options from Paris under the guise of pretending I'm talking about who is responsible for The French Revolution. Was that one of ours or one of yours? Meaning: do you want to fuck each other later or am I fucking you? By tossing these both out as options I'm obviously also saying that, if you're up for it, I'm in the mood for "ours". I currently have both the need to be inside you *and* the need to get done into next Thursday right now...

"Can't recall." Aziraphale's response to "one of ours or one of yours?" A blatant lie on every level lol. He remembers that the humans were responsible for The French Revolution and, based on how quickly he reached for it when asked what he wanted for lunch on an especially harrowing day, Aziraphale remembers every damn minute of the two of them in bed in Paris in 1793. He knows as much as Crowley what they got up to. "Can't recall" is a reply designed to sound like he can't remember who is responsible for The French Revolution on the surface level but answers Crowley's question on the hidden language level by using "can't recall" to signal that he doesn't have a preference. It's whatever you would like is fine with me. He's definitely noted the "ours" request, though, as we'll see later on.

But Aziraphale also still needs to answer Crowley's underlying question of what's he's wanting that's got him all hot and he keeps the euphemistic, hidden sex chat going by telling Crowley what he's picturing from Paris exactly that he wants later on:

"We had crepes."

Did Crowley and Aziraphale go to lunch-the-midday-meal in Paris after Crowley rescued Aziraphale from The Bastille and have crepes-the-food for lunch? They absolutely did. Lunch-the-midday-meal (or, really, *any* food/meal that is probably not breakfast, which they seem to had yet to sort out by S2 because of Crowley not staying the night) is part of lunch. But we know that this conversation in this scene in 2008 is not really about lunch-the-meal so crepes is our next bit of Ineffable Husbands vocabulary. We can tell at this point that this is a sexual euphemism. That The Guardian of the Eastern Gate and The Serpent of Eden use types of food as euphemisms for types of sex because of course they do lol...

Does the show get into what, exactly, "crepes" are in Ineffable Husbands Speak? Oh yeah. They do lol. But it's mostly on the other side of kinky lunch so we're going to come back to it...

Off of Aziraphale's crepes declaration, they get into The Bentley and peel off and the next time we see them, we're at...

The Ritz-Carlton, London. One of the finest restaurants in the world; known for their famed afternoon tea and world-class service. The origins of the word 'ritzy.' Where Crowley and Aziraphale have lunch in 2008, for what we will learn in the subsequent scene between them is the first time. We won't know that this restaurant is The Ritz until the S1 finale, when they return there after specifying that it's where they are going. We won't begin to understand fully what it means to them in their language to do so until then. The first hint happens around midway through S1 in the 1967 scene, when it becomes apparent that they are speaking to one another in a coded way-- even while alone, as they are just used to their own language by this point-- and that Aziraphale's "dine at The Ritz" aspiration was something tied to the idea of them taking some more steps towards being more openly and fully together.

In 2008, Crowley and Aziraphale decided to go to The Ritz while in The Bentley after the "let's have lunch" scene, in a scene we aren't shown, likely because the decision to do so would include directly referencing their relationship in a way the show has avoided doing so far but, as the 2.06 kiss showed us, won't be doing forever. (We also are never shown them past a certain point at night-- the show choosing to leave them in 2008 after the "godfathers" conversation in the bookshop and again in 2019 after we last see them holding hands during the ride back to Crowley's flat in London from Tadfield. This seems likely to change in S3, especially because there is almost certainly a The Blitz, Part 3 and we last left them late at night drinking wine alone in the bookshop making eyes at one another.)

Right, so, back to The Ritz in 2008 and the kinky lunch part of lunch...

Foreplay. Activities between partners-- physical, psychological, emotional, or all of the above-- that are designed to stimulate sexual arousal, in order to put the mind and the body in the mood for sex.

Kinky lunch is a form of foreplay, as Aziraphale is into the pleasure of being watched by Crowley as he enjoys the pleasure of his food and Crowley is into watching Aziraphale enjoy himself. This is also where the anticipatory kink starts to make even more sense as if they've already decided a bit of what they're going to get up to in bed later on, then they know what each other is thinking about all afternoon-- but especially during kinky lunch.

First date. There's also something of a romantic element to this, which a partner scene in S2 provided, which is that kinky lunch is essentially repeating what first happened thousands of years earlier in Job's cellar in 2500 B.C.. That night was, more or less, Crowley and Aziraphale's first date. Not all the sex they have is tied to lunching but part of lunching is, essentially, weaving their first date into these little sexy dates they're going on throughout different periods in history. Pretty romantic stuff for these two who also literally cannot say the word 'couple' but are basically married.

Biblical "fruits of knowledge." In Good Omens, what happened in The Garden of Eden is canonically known and it's that our Serpent of Eden Crowley tempted Eve into eating an apple from The Tree of Knowledge, which she then shared with Adam. The two of them then followed up the pleasure of eating with exploration into other sensual pleasures, discovered sex, and Eve-- whose biology really is something-- was basically eight months pregnant about two days later when Aziraphale snuck them out of Eden, jumpstarting humanity. Humans, though, have had ongoing debate over Genesis in The Bible as to what, exactly, the "fruits of knowledge" were that Adam and Eve consumed.

One argument is over what kind of food it was that Eve actually ate. In Good Omens, it is the most commonly thought food-- an apple-- but arguments have been made for everything from grapes to different berries to figs to even wheat. While Crowley does eat and different things than this, most of what we've been shown that he's consumed is humorous because it's almost all things related to speculated foods of the Biblical fruits of knowledge (wine-- grapes/berries; whisky-- wheat; an apple-looking tea in the S1 finale at The Ritz, etc..)

The other argument that is made is whether "ate fruit from The Tree of Knowledge" is actually just a metaphor for having sex. In Good Omens, the answer to this question is the opening of its story and it's not an either/or. It's both, with one leading to the other. Crowley and Aziraphale are more than aware of this and of the parallels with Adam and Eve to their own relationship and, like with everything else, they're very dryly funny about it. The two who are responsible for all sensual and sexual pleasure for all of humanity since the literal beginning of time have kinky lunch and a language full of food euphemisms for sex and flirty innuendo mixing the pleasures of eating with the pleasures of sex ("constitution of an ox!") because they're witty and playful like that.

Scrumptious. How Aziraphale describes his dessert at The Ritz. Means both "delicious" and "attractive/sexy enough to eat." Is basically the foremost adjective that describes human, physical beauty in terms of taste. It's kinky lunch-- a mix of the the sensual pleasures of eating food with sexual desire-- in a word.

Scrummy. Shortened version of 'scrumptious.' How Aziraphale describes the grapes he buys at The Globe Theatre in 1601, which he then spends the scene eating in front of Crowley, who flits around him like the horny little murder hornet he is, trying to flirt his way into Aziraphale's bed. 192 years before The Bastille.

Affirmative consent. Verbalized, informed and positive consent to participate in a sexual act. Needs to be direct and clear-- the more explicit and enthusiastic, the better. Good sexual practice is checking in with your partner before and periodically during to ensure that you're both still on the same page and having a positive experience. True of every relationship-- but especially true if one or more partners has had their autonomy violated in any way in the past, as Crowley has (and as Crowley had again the night before in 2008, when attacked by Satan in The Bentley, which was one of his many motivations for wanting to lunch with Aziraphale the next day.)

A cleverly-worded partner check in need not break the mood but is still equally important to do, even if everything seems to be fine. A sense of safety brings about trust and trust is sexy, after all.

"So, what are you in the mood for now?" Aziraphale's pitch-perfect partner check-in after he finishes dessert at The Ritz. He knows Crowley well enough to know that he's alright so this is flirtier than it might have otherwise been had Crowley not been. Still, it's presenting an opportunity to stop and giving Crowley the same sense of control and choice that he gave Aziraphale at the start of their lunch date. It's all done with a practiced ease and a subtle, sexy confidence that highlights that Aziraphale is very good at this and probably undid Crowley even more than watching Aziraphale eat lunch did.

Alcohol. Fermented fruit, wheat/grains or the like. Consumption of alcohol can lower inhibitions and the ability to be fully in control of yourself. To drink with someone then is to let them experience your most vulnerable self and to trust them to keep you safe and unharmed while you're not in a state of full control. It's intimate. It's sex, in food/beverage euphemistic terms, and we already know that Crowley and Aziraphale have a whole food-related sexual vocabulary... which Crowley jokes about in this scene.

When Aziraphale asks Crowley what he's in the mood for now that they've finished their dessert course, the point of the initial shot of the scene comes into focus-- the way the camera swoops a little over the surface of the table before settling back to show us Crowley and Aziraphale. The swooping shot illuminates what's on the table. It shows us that they've already eaten lunch, as Aziraphale is on the last forkful of his dessert. The key bits, though, are the beverages-- the coffee and the wine glasses.

Aziraphale has a larger, cappuccino-sized mug of some form of coffee drink while Crowley's dessert was a dessert coffee, based on the size and shape of the mug he's drinking it from. This is also where it's fun to point out that Mr. Six Shots of Espresso in a Big Cup has drunk half of what would be less than two shots of coffee, in a normal-for-the-drink-sized cup, and that the coffee is light in color, suggesting that it's cut with cream. But while the coffee and its symbolic freedom tied to S2 is fun to look at, the point here is that Crowley's coffee looks to be a dessert coffee, most of which frequently contain alcohol and, even more prominent in the shot, are two, empty wine glasses-- one in front of each of them-- that each have a little hint of red wine stuck in the spot above the stem in each glass, confirming that they both had at least one glass of a red wine with lunch.

The point is that they had wine with lunch and Crowley's likely been sipping an alcoholic coffee with dessert, and they're literally surrounded by bottles of wine behind them, as they're in a restaurant lol-- they're at The Ritz, which is known for their service and isn't exactly rushing them out. They could sit there for hours drinking more alcohol, should they want to... so, when Aziraphale asks Crowley what he's in the mood for now and Crowley-- who has spent this scene looking like he's considering freezing time and throwing Aziraphale over the table-- picks up the spoon from his likely Irish coffee and uses it to ding his wine glass-- that is empty of the alcohol he already drank out of it--to get the check lololol and says he wants "alcohol-- quite extraordinary amounts of alcohol", well...

Alcohol (in Ineffable Husbands Speak). Literal, surface level: Alcohol. Hidden language level: Sex.

"Alcohol. Quite extraordinary amounts of alcohol." "Sex. Quite extraordinary amounts of sex." Enthusiastic, affirmative consent from Crowley over here. He loves kinky lunch and he's glad you asked, Aziraphale, but he's very, very okay at the moment and wants to go to the bookshop now for more alcohol and, later, for quite extraordinary amounts of alcohol.

"An extremely alcoholic breakfast at The Ritz." A complete sentence in Ineffable Husbands Speak in S2 that Muriel doesn't understand but that we can by this point. Muriel not being able to speak Ineffable Husbands is the point of the moment-- it's to highlight that Muriel is missing information because they don't have the information needed to decode what Crowley is saying or to even realize that there is something to be decoded. It's to point out to us that we have this information and that's why we can understand what Crowley is saying. It, along with "no nightingales", is a moment designed to point out the language and how we can't interpret what we're seeing without being able to understand it. The context of the "us time" scene in S2 helps to reinforce that we have this language correct then also makes it an additional partner scene to the 2008 minisode, as it reinforces this interpretation of the language and the relationship between Crowley and Aziraphale that suggests.

Why does Muriel need to leave the bookshop in 2.06 if Crowley and Aziraphale are going for breakfast at The Ritz? We know it's because breakfast is the latest step they want to take when it comes to dining at The Ritz and alcohol is also sex so the Inspector Constable needs to leave because Crowley is out to have some lunch for breakfast.

Right, so, after kinky lunch at The Ritz back in 2008, we then catch up to Crowley and Aziraphale as they are walking up Whickber Street towards the bookshop.

Romantic stroll. They seem to like to go for a little walk together as part of lunch, if they can swing it. In 2008, they're caring a little less because they've just dined at The Ritz for the first time and they have 11 years left until the end of the world, so they're taking some moderate more risks. This might not be always typical of lunch but it is in 2008. They did this on their first date in the Land of Uz, sneaking out of the cellar to take a walk under the cover of night after the storm stopped. They also take a little stroll from the park to The Ritz in 2019 at the end of S1. All three of these times are possible exceptions-- it was night in 2500 B.C. on their first date and 2008 and 2019 are examples of not just lunching but dining at The Ritz, in the sense that they are in an era of being a little less guarded, if still cautious enough to maintain a sense of secrecy. There is a practical reason for the walk, though, as well as well as a romantic one, and that's related to:

The Bentley. Parked nowhere near the bookshop. On a side street somewhere, like we see Crowley has been doing ahead of S2 and is doing during S2 (including the night before the season began.) Crowley staying in the bookshop late into the evening is a given since they're lunching and have already planned to have some alcohol after their alcohol. The Bentley cannot be parked for hours in the evening in front of the bookshop without them running the risk of being caught so, even if they are coming back to the bookshop during the daylight of the mid-afternoon, The Bentley is already parked away from the shop because lunching comes with an understanding that Crowley will be staying in the shop well into the night.

This all seems routine for them at this point. As speculated in another post, this is probably how Crowley became friends with Mrs. Sandwich, whose work has her outside a bit in the early morning hours just outside the side door to the bookshop. Either way, the car is away from the bookshop so Crowley can stay most of the night with Aziraphale.

1921. The year in which Aziraphale bought a dozen cases (144 bottles) of Chateauneuf-de-Pape "for special occasions", as he either tells or reminds Crowley on their walk up Whickber Street. Twenty years before The Blitz.

This is an interesting comment for this exact moment here because one of the two pretty large gaps of time in the last few hundred years in their history is 1862-1941, right? We don't know much about what transpired between their whole breakup mess in St. James Park in 1862 and The Blitz. One of the flashbacks that was cut from S2 might have illuminated some of this, as it was the one set during The Gold Rush in America, which means it would have had to have taken place before about 1893. We know about Aziraphale learning to gavotte in The Hundred Guineas Club in Portland Place in the 1880s, we know that Maggie's great-grandmother started The Small Back Room with Aziraphale's help in the 1920s and we know that Crowley bought The Bentley sometime around 1933. In the midst of all of that, though, there's this one reference to 1921 here in the 2008 minisode that is pretty interesting when you consider why Aziraphale might be bringing it up in this moment.

Aziraphale is saying that he made an investment in the idea of them having a future of special occasions to celebrate together-- in whatever way they could manage to do so-- in 1921, which is a year in which, as far as we can tell so far, he might not have had a lot of hope that this would be possible. They do seem relatively incapable of breaking up for very long but it's also evident that they don't really fully start to get beyond 1862 until 1941 from what we've seen so far so it might have been a bit slow to heal. We do know that they were in contact and not just from the deleted America flashback but from the canonical reveal that Aziraphale got his driver's licence in the early 1930s, after Crowley bought The Bentley. But Aziraphale might be trying to say to Crowley that things didn't seem especially hopeful for them in the early 1920s, either, but Aziraphale has always held out hope.

1941. A special occasion, as that is Chateauneuf-de-Pape that they are drinking in The Blitz, Part 2.

2008. Year in which this minisode about lunching is taking place, when Aziraphale says that there "are a few bottles left" of the Chateauneuf-de-Pape he bought 87 years earlier, implying that they've drunk their way through almost 144 bottles worth of *just* "special occasion" wine *alone* in the last just under 90 years.

"For special occasions." Would be a truly insane way to refer to learning that the world was ending so safe to assume that Aziraphale is wanting to bust out the Chateauneuf-de-Pape in 2008 because what we see in 1.01 is the first time they dined at The Ritz. It was maybe not the most ideal way they'd ever wanted to as it was largely reactionary to learning they were almost out of time but they did it so time for the Chateauneuf-de-Pape.

Chateauneuf-de-Pape. Wine with quite the holy history. Translated from French, means "The Pope's New Castle". The Catholic papacy in early 1300s were big fans of the Burgundy wines in the area, spearheaded their popularity, and used the church to help spur the economic growth of the Avignon viticulture in that area. They drank the wine exclusively themselves and the papacy had been relocated to Avignon so, to an extent, Chateauneuf-de-Pape is something of a "holy water", symbolically. Maybe the antithesis of it-- holy water (water blessed through the power of Heaven) can kill Crowley, Chateauneuf-de-Pape (wine made by humans; symbolic of sex and love and a lifetime of special occasions with Aziraphale) is the stuff worth living for.

Wine is alcohol is, therefore, in Ineffable Husbands Speak, sex.

"Not very big on wine in Heaven, are they?" What Crowley says on their walk to the bookshop, in response to Aziraphale's suggestion that they break out the Chateauneuf-de-Pape.

A very funny line made even funnier by this partner scene in S2:

Well, you'd better pop off and get it then, haven't you, Aziraphale? lol

What, exactly, was going on between these two Influencer Brats of Job and their usual angels-- do we even want to ask? Probably not. The way Keziah says "they haven't brought the wine" with that little emphasis makes it feel like it's possible that their usual angels bring some Heaven-blessed wine as a pretense but that 'bringing the wine' is sexually euphemistic. Ennon hitting on Aziraphale adds to that sense by giving us the feeling that Job being God's favorite human means that, prior to the bet, Heaven was sending angels to see to the needs of the family and the elder two siblings have a pair of usual angels who service their, uh, beverage needs. All of which is, objectively-speaking, against what Heaven says it disapproves of (sex, alcohol/drunkenness, etc.), emphasizing the hypocrisy of the fascist state of Heaven.

The Job minisode then serves to reiterate the wine/alcohol = sex throughout the series and makes even funnier the fact that Crowley then drank the rest of the house's existing wine in revenge for these older kids being such brats and Ennon treating Aziraphale like a whore.

What it shows, though, is that maybe the only consumable beverage that Heaven *is* very big on-- if not on drunkenness-- is wine, like many big religions on Earth, right? As a result, Crowley's "not very big on wine in Heaven" line is then emphasized to really be "not very big on sex in Heaven, are they?"

Ok, back to 2008...

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes... Or single-malt scotch... Or frou frou cocktails with little umbrellas..." Crowley's full response to Aziraphale's Chateauneuf-de-Pape discussion on their walk. Translated from the Ineffable Husbands Speak below.

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes..." Not very big on sex in Heaven, are they? Forget music and food and books and our life here with our human things and our special occasions and spending time together, you are going to spend an eternity trapped in a open-floor-plan office building in the clouds with a bunch of prudish religious zealots. Forever and ever and ever... We have, potentially, eleven years until we'll never make love again. You *love* sex and if we don't stop Armageddon somehow, you're never going to come again...

"...Or single malt scotch..." Scotch is whiskey made in Scotland. Talisker, Crowley's favorite whiskey and recurring drink order, is a single malt scotch. So, this is: Not very big on *me*, either. Not exactly like I can just ride the elevator up for a visit... if I even survive Armageddon. You might have noticed Heaven is not tagging everything on their Tumblr #bildaddy. In case it wasn't obvious that this entire time, I've been listing other things you like about life on Earth while under the surface basically screaming "WE WON'T BE ABLE TO BE TOGETHER, ANGEL..."

"...Or frou frou cocktails with little umbrellas..."

Frou frou. American slang for "fancy", sometimes overly so. The American English sister word/answer word to "ritzy". Spoken by Crowley after they've just left The Ritz and as they walk past what will be the American-themed Give Me Coffee or Give Me Death in S2. Comes from America's longest allies--the French-- where it means the rustling sound made by skirts as they move and is onomatopoeia (words derived from the sound they make, rather than rooted in a language.) To reference Scotland, the United States and France within two sentences while bashing Heaven is very Crowley, who doesn't see Heaven as The British Empire or anything lol.

Cocktails. Mixed drinks. What you get when you combine alcohols. Also ties to the scene in S2 with Mr. Brown of Brown's World of Carpets in The Dirty Donkey, which is now a partner scene to this as well. Crowley's "a sherry for you, a whisky for me." It's another example of alcohol as symbolic of sex as Crowley bringing Aziraphale his preferred drink is their attempt at getting Mr. Brown to get the hint that they are a thing and they like now to keep the alcohol just to the two of them.

A cocktail, though, being a mixed drink, can refer in the context of discussion of Heaven and their relationship to the fact that they are an angel and a demon and Heaven is not very big on that particular cocktail.

Frou frou cocktails with little...

Umbrellas. Canopies.

Canopies. The essential setting component of Crowley's Vavoom in S2, as we heard him talking about (while having a drink) with Aziraphale in S2: "You mean like a sudden rainstorm forces them together beneath a canopy... and they look into each other's eyes and realize they were made for each other."

Vavoom. Alternatively: va-va-voom. Voluptuously sexy. Of or portending to sensual pleasure. How Crowley described his hypothetical-for-Maggie-and-Nina erotic-gazing-into-a-passionate-kiss-while-sheltering-from-rain-together-under-a-canopy thing that is absolutely not Crowley and Aziraphale's first kiss recounted back to Aziraphale by Crowley as his definition of romance. Not at all. Crowley just has a thing about tree canopies and their modern rain-sheltering cousins, umbrellas, ok? We didn't just spot The Vavoom hidden there in 1.01 a bit, too. Absolutely not. ;)

"Or frou frou cocktails with little umbrellas" (in Ineffable Husbands Speak). Heaven is definitely not very big on opulent mixed angel-demon drinks like us and our little romance... We're never going to kiss again, angel. Do you really want to spend *eternity* without ever kissing one another again?

According to S2, the answer to that question is that Aziraphale cannot handle the thought to a point of having a complete breakdown of 'what if you were an angel again so we never had to worry?' desperation, so this is probably why Aziraphale's downward hands of 'argh, not right now-- I can't handle this' show up at this point in 2008, as they finish crossing the street and arrive at the entrance to the bookshop.

This is when Aziraphale starts in on his whole "I'm an angel; you're a demon" stuff again but the tone of it is pretty soft and he adds this bit into it:

"We're hereditary enemies." Something which is hereditary is something which you've inherited through no fault of your own and without your agreement. Often, something foisted upon you that you would not have chosen. Aziraphale's comparing their situation to things like hereditary disease-- they didn't ask for it. It's not their fault. The reality of it, though, is still present. This is a way of reassuring Crowley that, even though Crowley could see through the Yay, Heaven! from the earlier St. James Park scene, that Aziraphale doesn't see him as the enemy and would never have chosen this whole mess. He's not yet agreeing to help Crowley stop Armageddon-- the odds are good that he never was going to while they were outside of the bookshop anyway and Crowley knows that. Everything Crowley has said so far is preamble to his argument for stopping Armageddon later on, when they're inside, sobered up, and Aziraphale is ready to work on a potential plan with him.

After "hereditary enemies"...

"Get thee behind me, foul fiend." Blasphemous Bible-speak delivered flirtatiously as a sexual invitation. Not the only scene in the series with blasphemous innuendo but this one line alone could be its own meta so, in an effort to keep this at under 4 billion words lol, we're just going to look at how this is relevant to lunching.

Foul fiend is just Biblical speak for wicked demon. "Wicked" and "demon" are words in the same vein as "wily", "thwart" and "smitten"--words with dual layers of contradictory meanings that Crowley and Aziraphale love to use in their language. To be "wicked" is to be evil in the sense of in line with Satan, yes, but it's also to be playfully mischievous and is a positive adjective used in place of "excellent" at times. To be a "demon" is to be a familiar of the Devil, yes, but it's also to be extremely skillful and talented at a particular thing.

Aziraphale does the whole "I'm an angel. You're a demon. We're hereditary enemies" thing but then turns around and uses "foul fiend"/"wicked demon" in the non-satanic definitions of it through his fond and suggestive tone. He's not calling Crowley evil-- he's calling Crowley playfully mischievous. He's calling him trouble in a light and fun way. He's not calling him a demon in a derogatory sense but in the skillful sense. The same words that mean "evil ally of Satan" also mean "playful and talented"-- Aziraphale has added context by situation and tone of voice/delivery to essentially turn "foul fiend" into calling Crowley "a demon" in bed, in the "skillful" sense of the word. It becomes fuck me, my very wicked demon by use of a suggestive tone.

But it's the use of "get thee behind me" that is most relevant to 2008 here because remember when I told you we'd come back to crepes?

Crepes. Thin, French pancakes. Can be had almost anytime of the day because they are quite versatile-- savory, sweet, for lunch, for dessert, you name it lol. As sexual euphemism, though, we are really looking at how 'pancakes' have been used traditionally by people using food as euphemisms for sex and that is, unsurprisingly, in relation to how a pancake is cooked. I think we've all probably made actual-pancakes-the-food before or at least have seen it done so it probably will not come as a surprise to you that you have to turn a pancake over to griddle it on both sides for it to be done.

As a result, any sexual euphemism involving pancakes is referring to sex that involves a switch from an initial position to a second position that is literally just the receptive partner turning over. So, in order to fully get Aziraphale's love of his romantic French pancakes here, we'd have to have the starting position of crepes and that is something the show actually gives us because why not at this point lol.

"Get thee behind me" after they've spent the afternoon setting up this 1793-inspired crepe-a-palooza indicates that the starting position of crepes is Aziraphale getting done from behind but he'll turn over because he likes to finish his French pancakes facing Crowley.

Vavavoom Yellow. The color of Crowley's eyes and the actual name of the actual paint the actual people involved with this show painted the actual walls of the bookshop. The color Aziraphale turned The Bentley after making it take off its black and silver sunglasses. Crowley's only out here trying to seduce Aziraphale in every other scene by looking at him over his glasses or taking them off or going on about their tantric eye sex into their first kiss... Seems possible Aziraphale might have a thing for Crowley's eyes, no?

"After you." Aziraphale wants crepes for dessert, though. After "get thee behind me, foul fiend", he gestures Crowley into the bookshop with a very witty "after you", which is both politely letting him go first into the bookshop and insisting he is in bed later as well.

Inviting Crowley inside the bookshop with the "after you" in tandem with inviting him inside with the "get thee behind me" is also then using the fact that Crowley is allowed into the bookshop as sexual metaphor for being allowed inside, well, Aziraphale. This gives it a partner scene in S2, when Aziraphale turns The Bentley into a sexual metaphor and is going for the innuendo gold when he then again uses the bookshop to euphemistically refer to himself with "... just as that bookshop is, technically, my shop... but we both get *plenty* of use out of it, don't we?"

God. The only other character on Good Omens aside from Crowley and Aziraphale themselves who speaks Ineffable Husbands Speak. Character responsible for teaching us one of its most important code words-- "nightingales"-- and who ships it so hard that She had a literal nightingale singing as a joke on their dual-meaning-happy language in the S1 finale. Our narrator in S1.

"...while, in London SoHo, an angel and a demon had been drinking solidly for the last six of them." As we cut away from Crowley & Aziraphale's scenes in 2008 to see The Youngs leave the satanic nunnery with their new baby, God points out-- with a hilarious 'oh my stupid children, scared of a baby' tone-- that "The Antichrist had been on Earth for 24 hours." If we can assume that The Youngs were not sent home from the hospital with a new baby in the middle of the night and that it's closer to the more civilized option of a dinner hour, then that would also go with the fact that Aziraphale was having dinner during all of this the night prior, right? Which means it's dinner time, if we're at 24 hours later. Which means that if, in London SoHo, an angel and a demon have been "drinking solidly" for the last six hours, then God is counting the entire afternoon since Crowley and Aziraphale met up for lunch as "drinking solidly" and that's because "drinking" in Ineffable Husbands Speak isn't just alcohol but sex. Yes, that's God making a sex joke. (She has a few more in S1, too.)

"Baby." Term of endearment for a romantic and/or sexual partner that has been documented as having been in existence since at least around the 1830s but was mainstreamed by American jazz, soul and rock 'n roll music and cinema.

While Crowley and Aziraphale are in the alcohol stage of their alcohol, they get plastered on Chateauneuf-de-Pape and Crowley, in a drunken ramble that we will realize by S2 is inspired by Aziraphale's magic words and their conversation in 1941, is going on about what is going to happen to the creatures of Earth when the world ends. He begins to try to say that the fish will be "turned into bouillabaisse" but that word is too difficult for him to say while drunk. While attempting to, he gets distracted gazing at Aziraphale and calls him "baby" in a low voice and then we get their hilarious very drunk kissy faces. Crowley manages to translate "bouillabaisse" in his mind enough to "fish stew-- anyway!" and they sober up soon afterwards to have an actually semi-coherent conversation and some actual alcohol.

In the context of lunching, this becomes getting drunk and distracted by thoughts of later in the middle of trying to talk-- and we know now thanks to S2 that Crowley is also distracted by thoughts of 1941 here at the same time, as he's going on about bananas, fish, and gorillas. We've never heard him call Aziraphale anything but his name or "angel" with the exception of this scene, when they're alone in the bookshop with alcohol on the brain. Aziraphale is drunk but he also doesn't react like it's unusual-- if he heard it, to be honest, as he seemed a bit devoted to stringing together his thoughts related to The Kraken... that great, bigggg bugger, as Aziraphale described him, not at all thinking about the quite extraordinary amounts of buggery they were going to get up to later on.

But, anyway, there's the scene where Crowley calls Aziraphale "baby" in 2008 and that might suggest that he does if they're alone and there's no risk of anyone overhearing it. (As "angel", at least, is theoretically meant to be calling Aziraphale by what he is in a semi-derogatory way but Crowley's honestly never made that work a day in his life lol.)

Thwarting. See: separate meta on my blog on "wily", "thwart" and "smitten" as examples of words with contradictory, dual meanings that Crowley and Aziraphale like to use in the 'angel-and-demon' sense on the surface but in their 'sexy/romantic' connotations in their hidden language. While talking about a plan to stop Armageddon, Crowley uses "wiles"-- the enticing and feminine-leaning-in-connotation definition of "wily"-- in a dry joke where the surface level is about how it's the role of an angel to stop the Evil One (his demon counterpart) at every turn but is really using "wiles" in its seductive definition. He also uses "thwarting" in a way that is substituting it in a sentence for "fucking" on the hidden language level: "You can't be certain that thwarting me isn't part of The Divine Plan, too."

Indeed, Crowley. Indeed.

"...at every turn." Ha. Crowley has crepes jokes. Think of all the French pancakes we can have for eternity if we thwart Armageddon, angel...

Godfathers. The 2008 minisode scenes end with them deciding to have a baby. Crowley's like I have a plan to stop the end of the world and it's that we crash this mansion and live together raising a kid like a little family and I've thought of a way you can sell it to Heaven-- whaddya say? And Aziraphale melts into a puddle of sparkly-eyed joy and they have some quippy lines about being damned that feel like foreshadowing for Aziraphale something fierce but this is where we leave 2008. Right here.

After alcohol, but before alcohol, ya dig?

Lunch (in Ineffable Husbands Speak). A recurring date of kinky lunch and spending time together that is pre-determined to end hours later with sex that is at least somewhat decided upon at the start of lunch, often euphemistically through discussion of " lunch food" and/or their romantic encounters in their shared past.

Off of this, let's go look at our partner scene of The Bastille again, now using 2008 to illuminate parts of it.

Paris, 1793. Crowley and Aziraphale playing 'damsel in distress and dashing hero rescuer' in The Bastille. Seven years before Aziraphale opens the bookshop; thirty years before Crowley's dragged to Hell in Edinburgh. They've been getting away with this forever at this point, to a point that while they're still overall cautious and terrified of getting caught, they're starting to think it's possible they never will because they've managed to keep it a secret this long. Aziraphale is dry and arch when referencing the recent "strongly-worded note" he apparently received from Gabriel about doing "frivolous miracles". Even though the note might not exist as this whole scene is, basically, a roleplay game, the attitude there is that they're getting one over on Heaven & Hell and are taking advantage of it.

We all know things like Aziraphale lighting up when Crowley shows up and the "oh, good Lord" while raking his eyes over him-- we're just going to look at some bits here that have more significance in Ineffable Husbands Speak.

As a side note here: the buttons on the black part of Crowley's outfit in Paris also are very similar in style to the jacket he's wearing in the Let's Have Lunch scene in 2008, in a fun bit of visual paralleling between the partner scenes via the costuming. This scene is also a great one for the consistent thing in the series where Aziraphale will casually reference God and Satan ("oh, good Lord"/"luck of the devil" in the Tadfield Manor scene) but Crowley will not ("what the deuce are you doing locked up in The Bastille?").

So, Crowley does his whole haughty and faux-put-upon thing upon arriving and S2 actually makes how he arrives even funnier because he spends the first half of the scene lounging on the floor across the room, which has real Job's cellar vibes. Later in the scene, we get the "well, you're lucky I was in the area" and Aziraphale's reply of "I was", both lines of which are arch as all fuck. They ring with a kind of knowing playfulness that honestly signals the whole thing is not exactly an organic situation. Crowley has come to Aziraphale's rescue out of nowhere before and odds are solid that led to Aziraphale's whole rescue kink awakening here lol but this scene in 1793 is not that. Crowley was absolutely "in the area" with his calendar cleared for whatever sexual hijinks the angel wanted to get up to that afternoon. He's committed to the bit and asks near the start: "what the deuce are you doing locked up in The Bastille?", prompting Aziraphale's response of "I got peckish."

"Peckish", meaning "slightly hungry", but you don't wade through a revolution because you could use a snack so Aziraphale's downplaying it for humor-- he's fucking starving. And not really for food. They have food in England. Aziraphale has intentionally got himself locked up in The Bastille because he's horny, which he's expressing using food terms because of course he is. Ineffable Husbands Speak was created by this dry-humored and self-deprecating duo, one of whom is the Serpent of Eden and the other of whom is a bit of a raging gourmand and, together, they've never met anything consumable that they can't make into sexual innuendo.

To learning that Aziraphale on the surface needed a snack and, in Ineffable Husbands Speak, needs a snack, Crowley has this hilarious response:

Go on, Crowley, keep pretending like you're offended that this is all just because Aziraphale is horny and like you think it's not specific to you, like you wouldn't let him nibble on you whenever he wants lol.

Tell him he's special, Aziraphale, and not just one of your favorite toys. You dragged him to a prison cell feet away from a guillotine for this.

"Well, if you must know, it was the crepes. And the brioche. Can't get decent ones anywhere outside of Paris." is Aziraphale's quite illuminating reply.

Paris is France and anything Parisian or French is coded as romantic and as related to love to them, even if we know how much they speak around those words. We know what crepes are now from the 2008 scene and we'll look at brioche in a moment but we can already see that this sentence, translated from Ineffable Husbands Speak, is Aziraphale saying that he can fuck his way around the world (and we know it's suggested that he has at times) but he feels that it's never as good for him as it is with Crowley because the crepes and the brioche are better when they're had in Paris-- because sex with Crowley is better for Aziraphale than with anyone else because of how they feel about each other.

Probably also worth mentioning that crepes and brioche both originated in France (many societies around the world have versions of crepes but the crepe itself is French) so this is also really saying it's just always been Crowley for Aziraphale since the start and Aziraphale was alluding to that to Crowley in the Paris, 1793 scene.

Brioche. A bit of a bread, a bit of a cake, it is a bit sweet and rich like a pastry and falls mostly somewhere there on the French deliciousness spectrum between the two and treated by chefs and bakers as a bit of both. As a result, can wind up in many different meals throughout the day, in different ways. Brioche = Crowley, in food form. Can be used to make sandwiches (ha) but is most well-known as the signature bread used to make French toast. French toast is traditionally made the same way as crepes-- involving turning, like pancakes.

Brioche (in Ineffable Husbands Speak). Both Crowley himself, in food form (bread is necessary for sandwiches, after all) and crepes-as-sex reversed between them with Crowley as the receptive partner.

[Crowley is also suggested to be black bread, according to God's narration, in the St. James Park scene, leading me to believe that he's just every kind of bread Aziraphale likes, which is probably most of them.]

Aziraphale invites Crowley to lunch and we know now that lunching was already a thing for them then. True to form, the scene ends with their first step of lunch-- the anticipatory part-- with Crowley asking "what's for lunch?", which we now understand to mean the same thing as "I still owe you one from..." in 2008. He's asking Aziraphale what he would like for lunch and we know already from 2008 that they went out for crepes and had a whole French buffet.

Armageddon: Round One. 2019. Averted. Afterwards, they meet up in a park and swap bodies back unnoticed because we didn't have enough secret sexual relationship stuff already happening on this show lol so yay metaphor and now there's a full-circle back to the bench at St. James Park in 1.01 but now with them having survived and at least temporarily halted Armageddon. Then, as they start to adjust to the whirlwind being over, it's Crowley with:

"Time to leave The Garden." Crowley likening Aziraphale and himself to Adam and Eve-- and just prior to proposing that he and Aziraphale go get their Garden on with a little lunch. Shows that Crowley and Aziraphale are more than aware of how much they parallel the first humans and reinforces that all of the Eden references and related humor in their romantic relationship that we've seen is not coincidental but intentional.

To ask Aziraphale if you can "tempt him to a spot of lunchchch" while opening up your hip to spread your thighs and angle yourself to suggest that your body is also on the menu. Complete with the 'wanna go to bed?' head tilt of 1601 and 2008 fame. I mean...

Meanwhile, Aziraphale's barely conscious of the fact that he's rubbing his thighs and looking at Crowley's lips...

To reply "Temptation accomplished." with a cutely dorky little laugh to Crowley's invitation to lunch. To never be one to say no to a spot of lunch and accept the invitation, while joking around about how neither of you ever actually tempt each other, you just find each other tempting, in the 'attractive' sense of the word.

Anticipatory kink. The first part of lunch.

To say that a table at The Ritz has miraculously come free. To suggest that you have 2008/Eleven Years Ago for lunch, coming full circle back to 1.01 in the S1 finale. 2019 is 2008 is 1793 is...

Champagne tea/high tea. The meal that Crowley and Aziraphale are actually eating when they go to lunch in the S1 finale. Features champagne and macarons, both of which are French, adding to the romance and the ties to 1793. There also appears to be an apple-hued tea on the table, nodding to Eden.

PTSD. What causes Crowley to sometimes go quiet and zone out. In 2008, we came in on the end of their meal at The Ritz and Crowley was in the moment. In 2019, we see the start of their lunch part of lunch and Crowley is not at all present. He's facing ahead and staring into space at nothing, exhausted and not in the moment. Aziraphale's partner check-in is different this time, as he can tell that Crowley is not with him. He draws him back to the now with a bit of romance.

"...if you weren't, at heart, just a little bit of a good person." I love you, you know.

"And if you weren't just enough of a bastard worth to be worth knowing." I love you, too.

"A Nightingale Sang in Berkeley Square." Romantic 1940 song containing the lyric "angels were dining at The Ritz" that formed the basis for Aziraphale creating "dining at The Ritz" as a code phrase meaning a more acknowledged and somewhat more open relationship in the future... which they then celebrate agreeing to try by literally dining at The Ritz, in line with their dual layers of meaning-happy language. We're still awaiting the origins of the song as their song but it is to a point that one of them has the pianist playing an instrumental version of it during this afternoon tea lunch in 2019. We also get Tori Amos' cover playing over the scene because dual layers of everything.

Literal nightingale singing. God showing only us the bird that Crowley and Aziraphale don't know is actually singing is the show acknowledging that our perspective is, like God's, on the outside of the relationship but we are now able to understand it. To see the literal nightingale but know what it means both symbolically and in Ineffable Husbands Speak is to see that there are different levels of meaning beneath the surface of what we've been watching.

Nightingales (in Ineffable Husbands Speak). Romantic love. Specifically, Crowley and Aziraphale's word for their love for one another.

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

[devilsupdates]

Update on trade

Again this is coming from ESPN and the Devils app

We got a goalie!!!!

The New Jersey Devils announced today that the team has acquired goaltender Jake Allen from the Montreal Canadiens in exchange for New Jersey’s conditional third-round selection in the 2025 NHL Draft. Montreal will retain 50% of Allen’s salary both this year and in 2024-25, the last year of his contract. The announcement was made by President/General Manager Tom Fitzgerald.

The conditions on the pick are as follows: if Allen plays in 40 regular-season games in the 2024-25 season and his club qualifies for the 2025 Stanley Cup Playoffs, the 2025 third-round pick becomes New Jersey’s 2025 second-round selection.

Allen, 33, joins New Jersey after spending the last four seasons with Montreal. The 6’2”, 195lbs. goaltender recorded a 41-68-15 career record with the Canadiens, while also earning three shutouts and a 3.30 goals-against average (GAA). Allen posted 6-12-3 record in 21 games this season for Montreal and owns a 6-1-0 career record playing at Prudential Center.

Before Allen was traded to Montreal on Sept. 2, 2020, he played in parts of eight seasons with the St. Louis Blues from 2011-12 to 2019-20. Allen earned 148 career wins with St. Louis, which ranks second all-time for Blues franchise history. The Fredericton, New Brunswick native logged his first career regular season start on Feb. 13, 2013, in a 4-3 win at Detroit. He recorded a career-high 33 wins in 2016-17 with St. Louis and earned a career-high six shutouts in 2015-16.

The veteran netminder also carries Stanley Cup Playoff experience, after playing in six postseasons with St. Louis, and was a member of their 2019 Stanley Cup championship team. Allen has played in 29 career postseason contests and owns an 11-12 overall record with a 2.06 GAA.

Born on Aug.7, 1990, St. Louis selected Allen in the second round, 34th overall, in the 2008 NHL Draft. He also represented Canada on the international stage at the International Ice Hockey Federation’s (IIHF) U18 World Junior Championship (WJC) in 2007-08 and 2009-10. Allen helped Canada win a Gold Medal in 2008 and was named the tournament’s Most Valuable Player. He also earned a Silver Medal with Canada at the 2010 WJC.

#jack hughes #new jersey devils #hockey imagine #nico hischier #luke hughes #hockey #timo meier #john marino #tyler toffoli

[wheelscomedyandmore]

Theodore Crawford "Ted" Cassidy (July 31, 1932 – January 16, 1979)

Noted for his tall stature at 6 ft 9 in (2.06 m), and his deep bass voice. He tended to play unusual characters in offbeat or science-fiction series such as Star Trek and I Dream of Jeannie, and is best known for the role of Lurch on The Addams Family in the mid-1960s. He is also known for voicing The Hulk. Though the character of Lurch was intended to be mute, Cassidy ad-libbed his signature line, "You rang?". The subtle humor and the deepness of his voice was immediately a hit. Thereafter, it was a recurring phrase written into the script. Cassidy also provided the voice of the more aggressive version of Balok in the Star Trek episode "The Corbomite Maneuver", the role of the android Ruk in the episode "What Are Little Girls Made Of?", and he voiced the Gorn in the episode "Arena". Cassidy did more work with Star Trek creator Gene Roddenberry in the early 1970s, playing Isiah in the post-apocalyptic drama pilots Genesis II and Planet Earth. His film work included his appearances in Butch Cassidy and the Sundance Kid (1969), Mackenna's Gold (1969), The Limit (1972), Charcoal Black (1972), The Slams (1973), Thunder County (1974), Poor Pretty Eddie (1975), Harry and Walter Go to New York (1976), The Last Remake of Beau Geste (1977) and Goin' Coconuts (1978). He also co-wrote the screenplay of 1973's The Harrad Experiment, in which he made a brief appearance. Cassidy underwent surgery at St. Vincent Medical Center in Los Angeles to have a non-malignant tumor removed from his heart. While recovering at home, complications arose several days later and he was readmitted. On January 16, 1979, Cassidy died at age 46 at St. Vincent Medical Center.

[suncaptor]

writerswatch supernatural

I am doing a rewatch in groupings of the writers! The tag is #writerswatch. I have tallied the writers into groups giving the speed 1 episode per day, but I will not be consistent with that and have it listed into dates for each writer.

I have outlined it below and people can join if they do want to, whether it be for a certain writer, episode, or anything. I just thought this would be a fun format.

I am starting with Eric Kripke.

Eric Kripke: September 25th-October 10th

"Pilot"

1x02 (with Ron Milbauer and Terri Hughes Burton)

"Bloody Mary" (with Ron Milbauer and Terri Hughes Burton)

"Home"

"Shadow"

"Devil's Trap"

"In My Time of Dying"

"All Hell Breaks Loose - Part 2" (with Michael T. Moore)

"The Magnificent Seven" (with Emily McLaughlin)

"No Rest for the Wicked"

"Lazarus Rising"

"Heaven and Hell" (with Trevor Sands)

"Lucifer Rising"

"Sympathy for the Devil"

"The Real Ghostbusters" (with Nancy Weiner)

"Swan Song" (with Eric 'Giz' Gewirtz)"The Man Who Knew Too Much"

Sera Gamble: October 11th-November 8th

1.03 Dead in the Water

1.12 Faith

1.14 Nightmare

1.21 Salvation

2.03 Bloodlust

2.08 Crossroad Blues

2.13 Houses of the Holy

2.17 Heart

2.21 All Hell Breaks Loose: Part One

3.02 The Kids Are Alright

3.07 Fresh Blood

3.10 Dream a Little Dream of Me

3.12 Jus in Bello

3.15 Time Is on My Side

4.02 Are You There, God? It's Me, Dean Winchester

4.09 I Know What You Did Last Summer

4.17 It's a Terrible Life

4.21 When the Levee Breaks

5.02 Good God, Y'All

5.07 The Curious Case of Dean Winchester with Jenny Klein (story)

5.13 The Song Remains the Same with Nancy Weiner

5.21 Two Minutes to Midnight

6.01 Exile on Main St.

6.11 Appointment in Samarra

6.21 Let It Bleed

7.01 Meet the New Boss

7.10 Death's Door

7.17 The Born-Again Identity

7.23 Survival of the Fittest

Raelle Tucker*: November 9th-14th

1.03 Dead in the Water

1.12 Faith

1.14 Nightmare

1.21 Salvation

2.04 Children Shouldn't Play with Dead Things

2.10 Hunted

2.16 Roadkill

2.20 What Is and What Should Never Be

*she did write some episodes with Gamble so some are repeats, so I have cut down the days.

John Shiban: Nomember 15th-23rd

1.06 Skin

1.07 Hook Man

1.11 Scarecrow

1.15 The Benders

1.20 Dead Man's Blood

2.02 Everybody Loves a Clown

2.09 Croatoan

2.15 Tall Tales

2.19 Folsom Prison Blues

Cathryn Humphris: November 24th-November 30th

1.20 Dead Man's Blood with John Shiban

2.07 The Usual Suspects

2.14 Born Under a Bad Sign

3.05 Bedtime Stories

3.10 Dream a Little Dream of Me with Sera Gamble

4.04 Metamorphosis

4.14 Sex and Violence

Ben Edlund: December 1st-December 24th

2.05 Simon Said

2.12 Nightshifter

2.18 Hollywood Babylon

3.03 Bad Day at Black Rock

3.09 Malleus Maleficarum

3.13 Ghostfacers

4.05 Monster Movie

4.08 Wishful Thinking

4.16 On the Head of a Pin

5.04 The End

5.10 Abandon All Hope...

5.14 My Bloody Valentine

5.20 The Devil You Know

6.03 The Third Man

6.09 Clap Your Hands If You Believe...

6.15 The French Mistake

6.20 The Man Who Would Be King

7.02 Hello, Cruel World

7.09 How to Win Friends and Influence Monsters

7.15 Repo Man

7.21 Reading Is Fundamental

8.05 Blood Brother

8.13 Everybody Hates Hitler

8.21 The Great Escapist

Jeremy Carver: December 24th-January 11th

3.04 Sin City 

3.08 A Very Supernatural Christmas 

3.11 Mystery Spot with Emily McLaughlin (story)

3.14 Long-Distance Call

4.03 In the Beginning 

4.11 Family Remains 

4.15 Death Takes a Holiday

4.20 The Rapture

5.03 Free to Be You and Me 

5.08 Changing Channels

5.15 Dead Men Don't Wear Plaid

5.18 Point of No Return

8.01 We Need to Talk About Kevin

8.23 Sacrifice

9.01 I Think I'm Gonna Like It Here 

9.23 Do You Believe in Miracles? 

10.01 Black

10.23 Brother's Keeper 

11.01 Out of the Darkness, Into the Fire

Matt Witten: January 12-January 13th

2.06 No Exit

2.11 Playthings

Richard Hatem: January 14th-January 15th

1.04 Phantom Traveler

1.10 Asylum

Andrew Dabb: January 16th-March 1st, Daniel Loflin: January 16th-31st

4.06 Yellow Fever with Daniel Loflin 

4.13 After School Special with Daniel Loflin

4.19 Jump the Shark with Daniel Loflin 

5.06 I Believe the Children Are Our Future with Daniel Loflin 

5.11 Sam, Interrupted with Daniel Loflin

5.16 Dark Side of the Moon with Daniel Loflin

5.19 Hammer of the Gods with Daniel Loflin

6.04 Weekend at Bobby's with Daniel Loflin

6.07 Family Matters with Daniel Loflin 

6.13 Unforgiven with Daniel Loflin

6.18 Frontierland with Daniel Loflin and Jackson Stewart (story) 

7.03 The Girl Next Door with Daniel Loflin

7.08 Season Seven, Time for a Wedding! with Daniel Loflin

7.14 Plucky Pennywhistle's Magic Menagerie with Daniel Loflin 

7.22 There Will Be Blood with Daniel Loflin 

8.02 What's Up, Tiger Mommy? with Daniel Loflin 

8.08 Hunteri Heroici 

8.14 Trial and Error

8.22 Clip Show

9.02 Devil May Care

9.10 Road Trip 

9.20 Bloodlines 

9.22 Stairway to Heaven 

10.02 Reichenbach

10.09 The Things We Left Behind 

10.17 Inside Man 

10.22 The Prisoner 

11.02 Form and Void 

11.10 The Devil in the Details

11.15 Beyond the Mat with John Bring

11.17 Red Meat with Robert Berens 

11.23 Alpha and Omega 

12.01 Keep Calm and Carry On 

12.09 First Blood 

12.23 All Along the Watchtower 

13.01 Lost and Found 

13.10 Wayward Sisters with Robert Berens 

13.15 A Most Holy Man with Robert Singer 

13.23 Let the Good Times Roll 

14.01 Stranger in a Strange Land 

14.13 Lebanon with Meredith Glynn

14.20 Moriah 

15.01 Back and to the Future 

15.10 The Heroes' Journey 

15.20 Carry On

Julie Siege: March 2nd-March 7th

4.07 It's the Great Pumpkin, Sam Winchester 

4.12 Criss Angel Is a Douchebag

4.18 The Monster at the End of This Book 

5.05 Fallen Idol 

5.12 Swap Meat with Harvey Fedor and Rebecca Dessertine 

5.17 99 Problems

Adam Glass*: March 8th-March 22nd

6.02 Two and a Half Men 

6.08 All Dogs Go to Heaven

6.12 Like a Virgin 

6.19 Mommy Dearest 

7.04 Defending Your Life

7.11 Adventures in Babysitting

7.18 Party On, Garth 

8.06 Southern Comfort 

8.12 As Time Goes By

8.18 Freaks and Geeks

9.07 Bad Boys

9.12 Sharp Teeth

9.17 Mother's Little Helper 

10.04 Paper Moon 

10.12 About A Boy

*both hitting Dabb and Glass these are writers I don’t really even take as canon most of the time, and then adding in Buckleming soon, but I’m still going to act as if I’ll have the stomach for it.

Brett Matthews: March 23rd-March 25th

6.05 Live Free or Twihard

6.10 Caged Heat with Jenny Klein (story)

6.16 And Then There Were None

Eric Charmelo and Nicole Snyder: March 26th-April 3rd

6.06 You Can't Handle the Truth

6.14 Mannequin 3: The Reckoning

6.17 My Heart Will Go On

9.05 Dog Dean Afternoon

9.13 The Purge

10.06 Ask Jeeves

10.13 Halt & Catch Fire

11.07 Plush

11.13 Love Hurts

Brad Buckner and Eugene Ross-Leming: April 4th-May 11th

(I wouldn’t recommend rewatching all of these and am assuming people know what to be critical and prepare for)

1.13 Route 666

7.05 Shut Up, Dr. Phil

7.13 The Slice Girls

7.19 Of Grave Importance

8.03 Heartache

8.07 A Little Slice of Kevin

8.15 Man's Best Friend with Benefits

8.19 Taxi Driver

9.03 I'm No Angel

9.09 Holy Terror

9.16 Blade Runners

9.21 King of the Damned

10.03 Soul Survivor

10.10 The Hunter Games

10.16 Paint It Black

10.21 Dark Dynasty

11.03 The Bad Seed

11.09 O Brother Where Art Thou?

11.18 Hell's Angel

11.21 All in the Family

12.02 Mamma Mia

12.08 LOTUS

12.13 Family Feud

12.17 The British Invasion

12.21 There's Something About Mary

13.02 The Rising Son

13.07 War of the Worlds

13.13 Devil's Bargain

13.18 Bring 'em Back Alive

13.22 Exodus

14.02 Gods and Monsters

14.07 Unhuman Nature

14.12 Prophet and Loss

14.19 Jack in the Box

15.02 Raising Hell

15.08 Our Father, Who Aren't in Heaven

15.13 Destiny's Child

15.19 Inherit the Earth

Robbie Thompson: May 12th-May 29th

7.06 Slash Fiction

7.12 Time After Time 

7.20 The Girl with the Dungeons and Dragons Tattoo 

8.04 Bitten

8.11 LARP and the Real Girl

8.17 Goodbye Stranger 

8.20 Pac-Man Fever

9.04 Slumber Party

9.11 First Born

9.18 Meta Fiction

10.05 Fan Fiction

10.11 There's No Place Like Home 

10.18 Book of the Damned 

10.20 Angel Heart

11.04 Baby

11.11 Into the Mystic

11.16 Safe House

11.20 Don't Call Me Shurley

Jenny Klein: May 30th-June 7th

5.07 The Curious Case of Dean Winchester with Sera Gamble (story) 

6.10 Caged Heat with Brett Matthews (story) 

7.16 Out with the Old with Robert Singer 

8.10 Torn and Frayed

9.08 Rock and a Hard Place

9.15 #thinman

10.08 Hibbing 911 with Phil Sgriccia (story)

10.15 The Things They Carried 

11.08 Just My Imagination

Daniel Loflin (without Andrew Dabb): June 8th-June 9th

8.09 Citizen Fang

8.16 Remember the Titans

Robert Berens: June 10th-July 5th

9.06 Heaven Can't Wait 

9.14 Captives 

9.19 Alex Annie Alexis Ann

10.07 Girls, Girls, Girls

10.14 The Executioner's Song

10.19 The Werther Project

11.06 Our Little World

11.14 The Vessel

11.17 Red Meat with Andrew Dabb 

11.22 We Happy Few 

12.03 The Foundry 

12.07 Rock Never Dies

12.14 The Raid

12.19 The Future with Meredith Glynn 

12.22 Who We Are

13.03 Patience 

13.09 The Bad Place 

13.10 Wayward Sisters with Andrew Dabb

13.21 Beat the Devil

14.03 The Scar

14.09 The Spear 

14.18 Absence 

15.03 The Rupture

15.09 The Trap

15.12 Galaxy Brain

15.18 Despair

Nancy Won: July 6th-July 8th

11.05 Thin Lizzie

11.12 Don't You Forget About Me 

11.19 The Chitters

John Bring: July 9th-July 10th

11.15 Beyond the Mat with Andrew Dabb 

12.18 The Memory Remains

Davy Perez: July 11th-July 22nd

12.04 American Nightmare

12.12 Stuck in the Middle (With You) 

12.15 Somewhere Between Heaven and Hell 

13.06 Tombstone 

13.11 Breakdown 

13.17 The Thing 

14.04 Mint Condition 

14.11 Damaged Goods 

14.16 Don't Go in the Woods with Nick Vaught 

15.04 Atomic Monsters

15.11 The Gamblers with Meredith Glynn 

15.15 Gimme Shelter

Meredith Glynn: July 23rd-August 6th

12.05 The One You've Been Waiting For

12.11 Regarding Dean 

12.16 Ladies Drink Free 

12.19 The Future with Robert Berens

13.04 The Big Empty 

13.08 The Scorpion and the Frog 

13.14 Good Intentions 

13.20 Unfinished Business 

14.05 Nightmare Logic 

14.08 Byzantium 

14.13 Lebanon with Andrew Dabb 

15.06 Golden Time 

15.11 The Gamblers with Davy Perez 

15.12 Galaxy Brain (story) with Robert Berens 

15.17 Unity

Steve Yockey: August 7th-August 17th

12.06 Celebrating the Life of Asa Fox 

12.10 Lily Sunder Has Some Regrets 

12.20 Twigs & Twine & Tasha Banes 

13.05 Advanced Thanatology 

13.12 Various & Sundry Villains 

13.19 Funeralia 

14.06 Optimism 

14.10 Nihilism 

14.14 Ouroboros 

14.15 Peace of Mind with Meghan Fitzmartin (story) 

15.05 Proverbs 17:3

Jeremy Adams: August 18th-August 20th

13.16 Scoobynatural with James Krieg 

15.07 Last Call 

15.14 Last Holiday

Auxiliary Writers: August 21st-August 27th

1.08 Bugs by Bill Coakley and Rachel Nave

1.17 by Hell House Trey Callaway

1.18 Something Wicked by Daniel Knauf

1.19 Provenance by David Ehrman

3.06 Red Sky at Morning by Laurence Andries

7.07 The Mentalists by Ben Acker and Ben Blacker

15.16 Drag Me Away (From You) by Meghan Fitzmartin

#writerswatch #spn #supernatural #incoherents #writerswatch guide

[jedivoodoochile]

Theodore Crawford "Ted" Cassidy (July 31, 1932 – January 16, 1979)

Noted for his tall stature at 6 ft 9 in (2.06 m), and his deep bass voice. He tended to play unusual characters in offbeat or science-fiction series such as Star Trek and I Dream of Jeannie, and is best known for the role of Lurch on The Addams Family in the mid-1960s. He is also known for voicing The Hulk. Though the character of Lurch was intended to be mute, Cassidy ad-libbed his signature line, "You rang?". The subtle humor and the deepness of his voice was immediately a hit. Thereafter, it was a recurring phrase written into the script. Cassidy also provided the voice of the more aggressive version of Balok in the Star Trek episode "The Corbomite Maneuver", the role of the android Ruk in the episode "What Are Little Girls Made Of?", and he voiced the Gorn in the episode "Arena". Cassidy did more work with Star Trek creator Gene Roddenberry in the early 1970s, playing Isiah in the post-apocalyptic drama pilots Genesis II and Planet Earth. His film work included his appearances in Butch Cassidy and the Sundance Kid (1969), Mackenna's Gold (1969), The Limit (1972), Charcoal Black (1972), The Slams (1973), Thunder County (1974), Poor Pretty Eddie (1975), Harry and Walter Go to New York (1976), The Last Remake of Beau Geste (1977) and Goin' Coconuts (1978). He also co-wrote the screenplay of 1973's The Harrad Experiment, in which he made a brief appearance. Cassidy underwent surgery at St. Vincent Medical Center in Los Angeles to have a non-malignant tumor removed from his heart. While recovering at home, complications arose several days later and he was readmitted. On January 16, 1979, Cassidy died at age 46 at St. Vincent Medical Center.

#ted cassidy

[aloneinstitute]

El Escorial, or the Royal Site of San Lorenzo de El Escorial (Spanish: Monasterio y Sitio de El Escorial en Madrid), or Monasterio del Escorial (Spanish pronunciation: [el eskoˈɾjal]), is a historical residence of the King of Spain located in the town of San Lorenzo de El Escorial, 2.06 km (1.28 mi) up the valley (4.1 km [2.5 mi] road distance) from the town of El Escorial and about 45 kilometres (28 miles) northwest of the Spanish capital Madrid. Built between 1563 and 1584 by order of King Philip II (who reigned 1556–1598), El Escorial is the largest Renaissance building in the world. It is one of the Spanish royal sites and functions as a monastery, basilica, royal palace, pantheon, library, museum, university, school, and hospital.

El Escorial consists of two architectural complexes of great historical and cultural significance: the royal monastery itself and La Granjilla de La Fresneda, a royal hunting lodge and monastic retreat about 5 kilometres away. These sites have a dual nature: during the 16th and 17th centuries, they were places in which the power of the Spanish monarchy and the ecclesiastical predominance of the Roman Catholic religion in Spain found a common architectural manifestation. El Escorial was both a Spanish royal palace and a monastery, although Philip II is the only monarch who ever lived in the main building. Established with a community of Hieronymite monks, it has become a monastery of the Order of Saint Augustine. It was also a boarding school: the Real Colegio de Alfonso XII.

Philip II engaged the Spanish architect Juan Bautista de Toledo to be his collaborator in the building of the complex at El Escorial. Toledo had spent the greater part of his career in Rome, where he had worked on St. Peter's Basilica, and in Naples serving the king's viceroy, whose recommendation brought him to the king's attention. Philip appointed him architect-royal in 1559, and together they designed El Escorial as a monument to Spain's role as a center of the Christian world.

On 2 November 1984, UNESCO declared The Royal Seat of San Lorenzo of El Escorial a World Heritage Site. It is a popular tourist attraction, often visited by day-trippers from Madrid – more than 500,000 visitors come to El Escorial every year.

El Real Monasterio de San Lorenzo de El Escorial es un complejo que incluye un palacio real, una basílica, un panteón, una biblioteca, un colegio y un monasterio. Se encuentra en la localidad española de San Lorenzo de El Escorial, en la Comunidad de Madrid, y fue construido en el siglo xvi entre 1563 y 1584.

El palacio fue residencia de la familia real española, la basílica es lugar de sepultura de los reyes de España y el monasterio –fundado por monjes de la Orden de San Jerónimo– está ocupado actualmente por frailes de la Orden de San Agustín. Es una de las más singulares arquitecturas renacentistas de España y de Europa. Situado en San Lorenzo de El Escorial, ocupa una superficie de 33 327 m², sobre la ladera meridional del monte Abantos, a 1028 m de altitud, en la sierra de Guadarrama. Está gestionado por Patrimonio Nacional.

Conocido también como Monasterio de San Lorenzo El Real, o, sencillamente, El Escorial, fue ideado en la segunda mitad del siglo xvi por el rey Felipe II y su arquitecto Juan Bautista de Toledo, aunque posteriormente intervinieron Juan de Herrera, Juan de Minjares, Giovanni Battista Castello El Bergamasco y Francisco de Mora. El rey concibió un gran complejo multifuncional, monacal y palaciego que, plasmado por Juan Bautista de Toledo según el paradigma de la Traza Universal, dio origen al estilo herreriano.

Fue considerado, desde finales del siglo xvi, la Octava Maravilla del Mundo, tanto por su tamaño y complejidad funcional como por su enorme valor simbólico. Su arquitectura marcó el paso del plateresco renacentista al clasicismo desornamentado. Obra ingente, de gran monumentalidad, es también un receptáculo de las demás artes. Sus pinturas, esculturas, cantorales, pergaminos, ornamentos litúrgicos y demás objetos suntuarios, sacros y áulicos hacen que El Escorial sea también un museo. Su compleja iconografía e iconología ha merecido las más variadas interpretaciones de historiadores, admiradores y críticos. El Escorial es la cristalización de las ideas y de la voluntad de su impulsor, el rey Felipe II, un príncipe renacentista.

El 2 de noviembre de 1984, la UNESCO declaró el Monasterio y Sitio de El Escorial como Patrimonio de la Humanidad. Es una de las principales atracciones turísticas de la Comunidad de Madrid. El conjunto monumental recibe más de 500 000 visitantes al año.

[internationalrealestatenews]

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[bustyasianbeautiespod]

hiii

I was thinking all day about your discussion about Aziraphale and Crowley never really resolving issues by apologizing ? Something like that? Like they just move on, and, anyways, do you think they’d be the kind of people who’d have imaginary conversations/arguments that solve the issues and then pretend that they’re solved because, to them, they already discussed this and fixed this? Gosh that’s hard to explain I hope you get me?

YES i totally get this! I think honestly that Crowley is the one more likely to talk things out with herself as if Aziraphale is there and then form a conclusion from it all without telling Aziraphale about it. I think of their fight in 1.04 and how Crowley does the whole "when I'm off in the stars I won't even think about you!" thing and then just. never leaves. And from what we see never would have left in the first place. Some time between shouting at Aziraphale over the bentley in front of the bookshop and going back to the flat and doing the holy water thing instead of going off to the stars, Crowley has changed her mind. And I DO think part of that is arguing it out w Aziraphale in his head and then eventually getting to the conclusion of not leaving.

For Aziraphale... Aziraphale changing his mind tends to be a direct reaction to something more than it is brought by introspection. In 2.03, he gets his realization from hearing Mr. Dalrymple's take. In 1.04, he changes his mind after hearing the Metatron's words. In 1941, it's Crowley who eventually changes his mind to reach out and save Aziraphale's ass when it seems like Aziraphale is still completely stuck in their st james park fight (if we are to believe the scriptbook where he was "realizing they're still friends" right at that very moment). Even the giving of the holy water is brought about by Crowley's heist plan.

Aziraphale tends to decide on things as they come and pretty much sticks to those decisions until another thing comes and he forms a decision that he will endlessly stick to yet again. Crowley tends to react immediately to things but decides on them separately from those reactions. We will mention this in our upcoming 2.06 eps but I think this is seen in how Crowley always reacts very negatively to hell but still helps Shax out and doesn't directly say no to Beelzebub in 2.01. Meanwhile, once Aziraphale decides in 1.06 that he's not on heaven's side anymore, he cuts pretty much all contact to heaven and heavenly business until he was forced back by circumstances into the heaven picture in season 2.

- Grey :))

#asks

[lrmartinjr]

[ailtrahq]

1 Mastercard Stock Price trades above the 20, and 50-day daily moving averages, following trendline support. 2 The year-to-date return of Mastercard Inc. is 18.48% while the three-month return is 11.92% 3 Mastercard Inc. ( NYSE: MA) Stock’s 52-week Price range is around $276 – $417. MA Stock was going up from last year’s October before the start of 2023, and the Buyers were piling up. MA Stock Price was at $414.62 with an intraday increase of 0.35%. Moreover, the intraday Trading volume of MA is 2.503 Million higher than the 10-day aggregate volume of 2.066 Million. According to the Price action, the MA Stock is showing signs of a big rise with a chance to grow more in the next sessions. The Stock is moving up with the help of the Buyers, who are trying hard to maintain these levels. The MA Stock (Mastercard Stock) continues to show Bullish momentum in the uptrend above the key moving averages. On the daily charts, MA Stock is in the Bullish zone and has maintained the uptrend above the 20 and 50-day EMAs. Based on recent data, the revenue of the period ending June 2023 was $6.269 Billion with a net income of 2.85 Billion. Moreover, the MA Stock estimated EPS for the June ‘23 period was 2.83, and the reported EPS was 2.89 giving a positive surprise of 2.06%. Moreover, the forecasted EPS for the next quarter is positive at 3.22. As per Simply Wall St., which is a financial website, MA Foundation and Endowment Arm is the top shareholder and owns 10.46% of the Mastercard Incorporated company. It holds 98,550,037 MA Shares worth $40.9 Billion. As per the recent insider activity, in the last three months, a hefty amount of MA Shares have been sold. MA Foundation and Endowment Arm, who is the top shareholder of the company sold 1,006,528 MA Shares worth $395.9 Million on the 10th, 15th, and 17th of August, 2023. Technical Analysis of MA Stock Price in 1-D Timeframe Source: MA.1D.NYSE by TradingView As per Price action, MA was in a Bullish trend from October last year. The MA Price found support around $276 and was strongly bought as it was available at a discount at that period. From the low of $276 to the high of $417, the journey upwards was swift and flawless, the high was reached by August 30, 2023. Moreover, the Price moved along the Fibonacci levels of 78.60%, 61.80%, 50.00%, 38.20%, and 23.60% and respected its levels effectively as noticed on charts, and rose firmly from these Fibo levels. As per the CMP $414.62 (at press time), the Price faced minute resistance earlier but continued from $410 and bounced back upwards.  Therefore, the current Stock Price of MA Stock might achieve more, there is a possibility for the Price to move toward the next resistance level of $420 and $430. On the other hand, if the Price breaks below the $396 significant support level, it might fall toward $387 and beyond. At the time of publishing, Mastercard Incorporated (NYSE: MA) is Trading above the 20 and 50-day EMA. RSI is around 65, turned Bullish as it took 14 SMA support and above the median line and MACD gave a Bullish crossover on the charts and the histogram gap is widening indicating reliable momentum. Summary MA’s Stock prices have been going up lately, trading above the $396 support level per share and showing signs of a strong upward trend. The Stock prices could break through the recent high of $417 if they keep rising. The technical indicators for MA also confirm the positive outlook, as they have turned Bullish. The Market sentiment for MA is also optimistic, as many traders and investors are buying and holding the Stock. Technical Levels Support levels: The nearest support levels for MA Price are $396 and $387. Resistance levels: The nearest resistance levels for the MA Stock Price are $420 and $430. Disclaimer In this article, the views and Opinions stated by the author, or any people named are for informational purposes only, and they don’t establish the Investment, financial, or any other advice.

Trading or investing in Cryptocurrency assets comes with a risk of financial loss.

[raiderlucy]

Endless Gifs of Steve Harrington (77/?) Stranger Things • 2.06 The Spy

#steveharringtonedit #strangerthingsedit #tvstrangerthings #dailystobin #usertez #userkam #tuserpris #userridge #usersen #userelz #tusermarie #userkitkat #steve harrington #joe keery #stranger things #st: season 2 #st: 2.06 #gifs* #steveharrington* #endless*

[vidavalor]

The Blitz, The B-Side and Baraqiel

Another post in a series about how "The Metatron" in the Final 15 is actually Satan.

This also contains a smidge of requested stuff on Baraqiel, who will get a full meta soon when I'm done with ramblings about The Devil.

The B-Side. Song featured on the other side of a record for another song.

"Peggy Sue." 1957 hit song by Buddy Holly & the Crickets. As mentioned to Aziraphale by Maggie in S2, "Everyday" is the B-Side from the "Peggy Sue" single.

"Everyday." Maggie keeps sending records to The Resurrectionist pub for their jukebox and they send her back copies of "Everyday" because Gabriel's miracle for Beez turns every record they play into that song.

When Maggie turns one of the records over-- the one she gives to Aziraphale-- both sides of the record are "Everyday." The "Peggy Sue" B-Side does not exist because Gabriel has eliminated it from being played at the pub in question, which generates "Peggy Sue"-free records as a result. We'll see a little later in this meta how Gabriel actually told us in 1.01 that he's got no time for "Peggy Sue"...

"Everyday" = The Gabriel and Beez positive ending in S2. Choosing true love and to be with that one particular person who makes everything better.

But it's the B-side to...

"Peggy Sue" = um, not "Everyday"-- more the opposite of that-- as outlined below:

Peggy. Nickname for Margaret.

Sue. Nickname for Susan, the root meaning of which is roses of Sharon.

Greta. Shortened version of Margareta. Derived from Margaret.

Fraulein Greta Kleinschmidt... aka Captain Rose Montgomery ="Peggy Sue".

Marguerite's. French restaurant on Whickber St. Name means "Margaret" in French. Covered in roses. Making it also "Peggy Sue" and tying The Blitz, Part 1's Greta/Rose conflict directly to 2.06's Metatron/Devil conversation at Marguerite's.

Marguerite's is run by and likely owned by Justine. It is the location of both Crowley and Aziraphale's smitten would-be date conversation while it was open and, while it was closed, Aziraphale's conversation with "The Metatron."

It is where Aziraphale is tempted by "The Metatron"-- who is really on the opposite "side" from what he appears to be. He is not really "the Rose" but "the Greta"-- The Devil.

Bara. Japanese for "rose", in a pejorative sense (similar to the English "pansy".)

Baraqiel... aka Crowley. Pictured above at Marguerite's beside a romantic red rose. The actual anti-fascist involved in 1941 and still in the present and whose side Aziraphale should choose. Greta is a spy pretending to be Rose but Rose doesn't really exist; Crowley is a demon who pretends to be an angel whose name partially means "Rose"... and Crowley and Aziraphale both found out together long ago that the demons can still do angelic miracles so, for all intents and purposes, Baraqiel is real.

In S1, Aziraphale is the self-proclaimed "*the* Southern pansy." In S2, Crowley's B-side fake angel identity of Baraqiel is revealed and part of the etymology there relates to roses.

Justine. Means "just" and "fair." When Marguerite's is open, Justine is there, which relates to that sense of what is right and good and true. Crowley and Aziraphale are at Marguerite's together in S2 when it is open. Their relationship is right and true and fair and good. Aziraphale talks there with "The Metatron" when the restaurant is closed and Justine is nowhere to be found. No Justine and the closed restaurant = foreboding as all fuck.

Marguerite's. Justine's restaurant, where, as we've said, Crowley and Aziraphale met during its open hours. Means "of-- or belong to--Margaret" in French.

French. Aziraphale can't get decent crepes anywhere outside of Paris. And the brioche. And the oui est la plume de la jardiniere de ma tante? flirting outside Marguerite's in S2. C'est si romantique...

Margaret. Means "pearl." Pearls are the rare jewels found in oysters. Like the ones Crowley and Aziraphale went out for in Rome on the day they also first shared some oysters.

Montgomery. Captain Rose Montgomery, the B-side fake identity of Fraulein Greta Kleinschmidt. Mont from the Latin for "mountain" and the rest from the Greek "gomari"-- meaning "to load"/"to carry a load or a pack while climbing/man carrying a pack." Means "mountain-climbing person."

"Climb Every Mountain." The Big Damn Song from 'The Sound of Music'. God's favorite tune and the corporate mandate of Heaven, the inhabitants of which do not understand this message or live these values at all. Crowley and Aziraphale get the themes of this musical but seem to have yet to figure out how much they are like the lead characters or that they're in a story that partially parallels this musical.

Maggie. Nickname for (and name derived from) Margaret. Shares a root name with Greta.

Greta. Witnessed Crowley turn up to protect Aziraphale in the church, in a scene in which had matrimonial undertones. Her recruiting of Aziraphale-- that relationship-- prompted Crowley into a romantic gesture.

"...American expression-- played for suckers!" and Aziraphale's gasp at the reveal of Rose as Greta. This all happened *before* Crowley came into the scene. Crowley then confirmed that the trio were "a bunch of half-witted Nazi spies" and that Greta was not really British intelligence.

Maggie. Her talk with Crowley-- which she talked Nina into doing-- prompts Crowley into something circling close to a proposal before it all went off the rails.

"...human expression-- hold that thought!" and Aziraphale's gasp at the reveal by Crowley that the being who had arrived was The Metatron. Crowley, as we'll look at in another meta, is the one who actually helps "the Greta" of this scene hide his identity-- against his will... the mirrored opposite of 1941.

Sister Margareta. The sweet but kind of empty-headed nun that defends Maria during "(How Do You Solve a Problem Like) Maria" in 'The Sound of Music'. As all the other nuns are bashing Maria to The Mother Abbess and saying that she doesn't have what it takes to be a nun, Sister Margareta sings that she'd "like to say a word on her behalf/Maria/makes me/laugh."

Gabriel. Sister Margareta.

Gabriel is Margareta-- is Margaret, is a Peggy. Crowley is Baraqiel-- is Rose, is a Sue. So, Gabriel and Crowley together = our third example of a Peggy Sue scenario. The conflict of Aziraphale between Gabriel or a statue of Gabriel-- representing Heaven-- and Crowley... visually represented in the sushi scene (Crowley presence in significant absence) and in 1827, etc...

Also, just for those who watched Mad Men and think the idea of "Don" being "a Peggy" is fun because Don Draper and Peggy Olson were two peas in a pod...

Back to Good Omens... and over to Gabriel's first scene. So, what famously doesn't our favorite nun Sister Margareta aka Jimbriel do?

Aziraphale-- and the audience-- might not realize it at first but Gabriel is actually not really pointing at the sushi in this scene... at least not exclusively. He doesn't actually comment on the sushi at all, even when it's what Aziraphale defends. What's grossing out The Supreme Archangel here is the tea. The tea is at what Gabriel is pointing when he says "that" and on what he remarks when he tells us what he does not do as a character:

"I do not sully the celestial temple of my body with... rose matter."

The "Rose Matter." The "Peggy Sue" conflict. Aziraphale's core conflict of being a good angel versus being a good person and how his love for Crowley is at the nexus of all of that. First alluded to in the sushi scene. Gabriel informs us right at the start that he'll be peacing out of all of that nonsense lol-- he doesn't give enough of a fuck to be all that concerned as to what their abusers think of them and he'll be around later to teach Aziraphale how to drink far less of "the tea"-- what people say-- at some point. He doesn't quite yet get his own role in why Aziraphale does at that point in 1.01 but he'll start to as a result of S2.

Finally, there's that Gabriel just thinks tea itself-- the beverage-- is disgusting, setting Gabriel up for his hot chocolate orgasm in S2. He's going to "dump the tea in the harbor" in S2 as the resident "American" angel, after all. No "Peggy Sue" pining rose-related shit for Gabriel, thanks-- just "Everyday."

But also...

Rose Matter. Rose petals. Components of rose tea. Gabriel's comment tells us what Aziraphale ordered to drink at the sushi restaurant in 1.01, when he was supposed to meet Baraqiel for dinner. Who is Crowley. Ya know, this Crowley...

...ooh la la, Aziraphale...

Gabriel does not sully the celestial temple of his body with rose matter but Aziraphale consumes all sorts of-- ahem, right, anyway! this was about The Devil lol...

Kleinschmidt. Klein = "small". Greta is a small person-- she is not empathetic, not kind, not forward-thinking. "Schmidt" = "smith", as a blacksmith/metalworker. Someone who makes tools. Kleinschmidt = Small toolmaker.

"And you will be a tool of that glorious destiny." What Hastur tells Crowley in 1.01 when he tells him that Satan has picked him to usher Armageddon and the demonic victory the demons assume will happen.

Toolmaker. The Devil. Kleinschmidt. Small toolmaker. Greta is "the little devil"-- the small plot that both foreshadows and sets up the big one with The Devil himself.

A church. Where the Nazis meet Aziraphale in 1941. Its pastor is nowhere to be found and its altar has been claimed by Nazis, who are planning to murder Aziraphale in this church. A "holy" place that seems of Heaven (the side of "good", supposedly, not really) but is actually evil.

"The Metatron." The being to whom Aziraphale speaks in the Final 15 of 2.06. Seems of Heaven. Actually The Devil.

First little mini post on this topic:

#ineffable husbands #good omens #crowley #aziraphale #aziracrow #good omens meta #good omens theory #good omens 2 #the metatron #final fifteen #the final fifteen #final 15 #ineffable divorce #archangel fucking gabriel

[goalhofer]

Canadian Daily Precipitation Records Tied/Broken 12/23/22

Picture Butte, Alberta: 0.2" (previous record 0.16" 2016)

St. Albert, Alberta: 1.2" (previous record 0.71" 2004)

Unincorporated Central Kootenay District, B.C.: 0.58" (previous record 0.35" 2018)

Mission, British Columbia: 1.28" (previous record 1.19" 1972)

Netalzul Meadows Provincial Park, B.C.: 0.39" (previous record 0.32" 1992)

Pacific Rim National Park Reserve Of Canada, B.C.: 2.08" (previous record 1.86" 1986)

Richmond, British Columbia: 1.08" (previous record 0.94" 1998)

Summerland, British Columbia: 0.13" (previous record 0.05" 2021)

Surrey, British Columbia: 1.48" (previous record 0.83" 1998)

Unincorporated Halifax Municipality, Nova Scotia: 2.06" (previous record 1.11" 2009)

Trenton, Nova Scotia: 1.5" (previous record 1.38" 1941)

Unincorporated James Bay Region, Quebec: 0.34" (previous record 0.28" 1979)

L'Assomption, Quebec: 1.22" (previous record 1.14" 2004)

La Tuque, Quebec: 1.55" (previous record 0.83" 2004)

Saguenay, Quebec: 0.81" (previous record 0.51" 2004)

#Storms #Canada #British Columbia #1980s #1990s #1970s #Alberta #Nova Scotia #1940s #Quebec

[bettyjugheadarchieveronica]

wow praise to Cheryl for not killing Nick right there and then

#cheryl blossom #nick st. clair #riverdale #riverdale spoilers #2.06 #my post

[steveharrington]

who, in your opinion, are the best actors in st? :D

well we know i’m a joe girl by nature so i’ll simply say he impresses me in every scene he’s in <3 joe doesn’t get enough credit for how insanely funny he is. like i know most people find his scenes funny but i feel like it’s usually credited to the writing when really his comedic timing and his DELIVERY really makes (imo) dialogue that might otherwise be corny and really unfunny into something funny. he also is so good at looking completely utterly in love it’s insane. joe and maya also have a difficult task of like making a literal torture scene adequately harrowing (which maya DOES) while also funny and like…light hearted? it’s such a weird thing to ask them to do but they did it just right.

david really is the one who gives consistently the best performance imo and i think it’s because he loves hopper and he really cares about getting him exactly right. you can just tell there’s an enthusiasm in every scene he’s in. he also makes me cry every time he’s given an emotional scene bc he plays them so genuine and wholeheartedly….the black hole scene never fails to get me.

and kid-wise i really think they’re all great. noah millie and finn get tons of deserved praise but gaten sadie and caleb bring so much with their performances too. gaten especially has a really big job of being consistently funny with (again) some dialogue that would be easy to make cringey and he pulls it off every time. now that he’s grown up a bit and his entire character isn’t just like adorable little baby boy whose cheeks you wanna pinch i feel like he’s maintained his role so well which is impressive. sadie and caleb make me cry. sadie makes max’s emotions feel so real and relatable and caleb has had to do such a wide range from like his anger in season one to his little romantic subplot in season two and just his overall comedic work. i think the scene in 2.06 where they’re on top of the bus is one of the best in the show and caleb simply nails it 💞

#i don’t choose favorites but yes i do 💞 #st #anon #answered