It's about Crowley bearing witness to Aziraphale's desire, about the way that desire is animal and visceral and enormous and terrifying*. And about how Crowley sees that and wants it. Crowley offers the ox rib and watches Aziraphale eat because eating provides them no sustenance, it's purely for pleasure, sensual, selfish. And Crowley introduces Aziraphale to this, and thousands of years later still takes obvious pleasure in feeding Aziraphale, in watching him eat. In watching Aziraphale's pleasure.
And I think it's significant the things we see Crowley put into his body in s2, and why: six shots of espresso, as something bracing before seeing what it is that made Aziraphale call him in his "something's wrong" tone; whiskey, because he has to give Aziraphale some bad news; wine, because they "might as well get comfortable" during the storm coming down on Job, after Aziraphale learns that Crowley is actually pretty unhappy with Job's suffering; and poison, to dispose of it so Elspeth (or Wee Morag, I've fogotten which is which) doesn't die. Crowley doesn't take Aziraphale's "something that calms you down", only consumes things that not only don't bring him pleasure but are an attempt to prevent pain. Crowley, who introduced Aziraphale to this important physical, sensual, selfish pleasure, denies it to himself. He denies himself the eccles cakes, he denies himself partaking in food, and he denies himself Aziraphale.
And we see throughout the rest of the season other things he's denying himself: the comfort and safety of a home in the bookshop in favor of the mobility and ready-made escape of living in the Bentley, the surety of saying what he really means during the confession. He cannot bring himself to admit what he wants, that he wants. Gabriel and Beelzebub "going off together" is not what he wants. He wants Aziraphale, but he doesn't say that, because he's never, in the years and years and years we've seen this season, let himself want or be seen wanting. "Going off together" is as close as he can get to speaking it. "A group of the two of us" is as close as he can get. So he has to watch as Aziraphale leaves and takes his pleasure in the world with him.
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[ID: A panel from Dungeon Meshi. It shows the corpses of Senshi, Chilchuck, Izutsumi and Laois all propped up against fancy paintings sitting on the ground against the wall. Marcille is alive but has a reddened, tear-streaked face and a dead-eyed expression as she leans her head against Laios' shoulder, reached out a hand, and says, "Did you give even a moment's thought to how I'd feel surrounded by your corpses...?" End ID.]
God this panel took me right the fuck out. On the one hand, what else can they do? Marcille's the only member of the party skilled enough in magic to do resurrection spells. Laois straight up tells her he's giving her the neck armour because she's the healer, the one they can't afford to lose; she can rez the rest but if she dies, they're all doomed. And it's a uniquely cruel position for Marcille to be in because of her deep, aching fear of outliving everyone she loves, a fear that Laios has to be aware of on some level, even if he doesn't clearly remember the nightmare he rescued Marcille from... but even if he was fully aware of it, that doesn't change the fact that she's the only one of them who can rez. It's inescapable that she has to be in this position, just as, in the end, it's inescapable that she will outlive everyone in this panel even if they live to ripe old ages. Marcille being forced to microdose her inevitable looming grief is a great setup for her making the decision she does when they meet the Winged Lion--how can she go through this again, for real?
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Danny is literally Kryptonite
Sorry for the late post, holidays have been busy this year. Anyway, enjoy my newest dpxdc prompt!
The kryptonite didn’t work.
Batman is now running on… limited options.
Superman had been possessed again, but this time with an unknown. He is exhibiting signs of extreme degradation at this point, after the several hours of fighting. Justice League Dark have been unsuccessful with any long ranged spells, and whatever it is controlling Superman has not allowed them to get close.
The Flash is down, as is Wonder Woman. The remaining Supers started showing the effects of Kryptonite whenever they got in a radius of Superman, so they have been put on civilian rescue.
Things… are looking grim.
Suddenly, a black blur flies and slams into Superman, then straightens up to reveal a young, white haired teen, floating above Superman in a crater.
“Ya’ll are REALLY trying to make me look like a villain, aren’t yah?”
. . .
The fight lasts for thirty minutes, while the young hero(?) seems to stall him, keeping the fight within a one-mile radius, lessening the damage to the city. Well, as much as he can, at this point.
“Got it!” He yells suddenly, grabbing and throwing Superman to two other teenagers and… a dream catcher? A glowing green dream catcher.
Superman tumbles through it, and a green blobbed-shaped entity lifts off of him, and is immediately vacuumed into- a soup thermos, why not- by one of the other teenagers.
Just.
what?
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it's such a tragic irony that swifties, who rallied so hard for regulations on AI usage - because we all knew and experienced how dangerous it can be in the worst possible way, still continue to use AI to generate songs and alarm sounds and album/song covers using taylor's voice like it doesn't violate her artistry at all. and then defend it by saying this is different because they're doing it with positive intentions. there's literally nothing productive about using AI to generate any kind of content, especially not when that content is a blatant (and disgustingly shallow) impersonation of someone swifties claim to love and respect so much
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I love Raph and haven’t said that enough so to be more specific I love that Raph is a soft boy who loves bear plushies, a gross boy who eats an assortment of things that are definitely better left alone, a smart boy who is more than capable of taking down villains through planning and fortitude alike, a strong boy who is dedicated to training his muscles and fighting prowess, a teenage boy who loves his brothers but is more than happy to tease and roughhouse with them, an angry boy who sometimes lets his anger take a hold of him to cover the fear, a gentle boy who is generous with hugs and affirmations to those he loves, a capable boy who takes on more than should ever be expected of a teenager, a good boy who just wants to be a hero and slowly comes to realize the cost of that duty, a good boy who has no reservations about putting himself in the way of harm coming to his family, a good boy who’s a great brother and son and person and deserves only the best the world has to offer.
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