deanwinchesterisafeminist-blog

[deanwinchesterisafeminist-blog]

okay i need them rollerskating in the 80s p l e a s e

“Thisis horrible,” Crowley hissed. “Awful.The worst thing you’ve ever asked me to do.” His fingers were buried inAziraphale’s jacket, tongue flicking in irritation. The disco lights slidacross his features, painting him in iridescent scales.

“It’snot so bad,” Grinning, Aziraphale glided backwards across the rink. Peoplepassed them, holding hands, laughing with each other.

Crowleyglowered, his eyes only visible behind the sunglasses when the lights overheadflashed just right. “Legs are the worst,” he said, “What does anything needlegs for, anyway?” He tried to take a step and stumbled forward. “Stupid,stupid—”

Handscaught skinny hips, keeping them steady. “Legs are useful for a lot of things,”Aziraphale said, his tone bouncing in and out of the rhythm of the song the rink was playing. “Like running and jumping—”

“Andgetting caught in bear traps,” Crowley muttered.

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I am SCREAMING

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i had an idea

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Yo what the actual FUCK

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Me being a bad is very appropriate. Unattractive but very useful, thrown away as soon as you're done with it, and full of air.

not my image.

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Crowley & Aziraphale body language interactions

Crowley: swaggering, reclining, lip twitch, peacocking, revolving around Aziraphale like he’s the Goddamn sun, peacocking but in leather, making faces

Aziraphale: little smirk, smaller smirk, delighted expression, eyebrow quirk, little shimmy, pursed lips, smile again but with a little bounce in place

Crowley: peacock-swaggers harder

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With Supernatural coming to an end it's up to the Good Omens fandom to become the over analytical character dissectors of tumblr

Good afternoon, are y’all ready for feelings again? Let’s talk about the break-up scene.

“But, Des,” you say, “you’ve already talked about the break-up scene!”

Yeah, I talked about the actual break-up, let’s talk about THE BEGINNING OF IT.

This isn’t really what I wanted to talk about, but it’s just another one of those great moments that I love between them.

Crowley, literally two seconds ago, says: “You’re ridiculous, I don’t know why I’m still talking to you,” and walks away.

But as soon as Aziraphale says, “You can’t leave, Crowley!” He turns around and just drops this bomb.

“Enough, I’m leaving.” / “We can go off together!”

Honestly, do the two of you even know how to be properly mad at one another? The answer is no.

But like I said, that wasn’t really what I wanted to talk about. What I wanted to talk about is what happens directly after that. I wanna talk about Aziraphale’s reaction.

The way his expression goes slack, lips parting, it’s surprise, yes, but it’s also more. It’s awe.

There are no words, none whatsoever, that do justice to Michael Sheen’s voice in this moment. 

“Go off together?” So soft, filled with disbelief and longing, like in those three words, Crowley has given him everything he’s ever wanted, but never even dared to dream about.

And then there’s this. He takes a little fortifying breath like Crowley’s just knocked the air out of him.

The thing that kills me, though, is that as soon as he realizes that he’s daring to hope, he has to reel himself in again. Because he is Aziraphale and he doesn’t get what he wants.

A little sigh as he lets that same breath go, his shoulders dropping again.

First of all, before I go off on a tangent, I wanna talk about Crowley’s body language.

He’s just said, “let’s go off together,” and he’s standing there with arms wide open like he’s offering up his entire self to Aziraphale, and in some ways he is, but it just kILLS me to see, knowing what’s coming next.

Now onto my tangent:

Listen to yourself, Aziraphale says. It’s a silly thought to entertain; a pipe dream.

This is the moment, the very second, that Aziraphale teeters on the knife’s edge of a life-changing decision. 

Taking what he wants means turning his back on Heaven. Being obedient to Heaven means losing Crowley.

For six thousand years, he’s been able to put off this decision, but he’s been aware more and more that it’s coming, that he’ll have to choose some day. Maybe in those first days, it would’ve been easy for him to choose Heaven.

But six thousand years later, it isn’t. Six thousand years later, the idea of choosing Heaven over Crowley makes him feel like he’s unraveling at his very core.

He needs to be talked into it, though, the same way Crowley talks him into everything else. Needling him, coaxing him, spouting absolute logic at him–because logic is the language that Aziraphale speaks most fluently–until Aziraphale can make his decision and feel good about it.

It’s easy to say that Aziraphale is a worrier and you would not be incorrect in saying so. But let’s call a spade a spade: Aziraphale has anxiety. Seemingly very severe anxiety.

The first time we meet him, he says, “Oh, I do hope I didn’t do the wrong thing,” and then he spends the next six episodes worrying about that very thing. 

That is his defining trait. He needs to do the right thing and his entire life is spent wondering if he’s succeeding.

The thing that Crowley does–that no one else will do, keep in mind! and that I think is absolutely, utterly wonderful–is he talks it through with Aziraphale. He doesn’t just say, “Stop being a worrywart,” or “Why are you worried about this?” or “You worry too much.”

No, he acknowledges and accepts Aziraphale’s anxiety as part of who he is and instead of dismissing or ridiculing it, he helps to ease that anxiety with the thing that works best for Aziraphale: logic.

Crowley gamely engages Aziraphale’s worries and lays out careful arguments to show that no, dove, you aren’t doing the wrong thing. This is the thing to do, I promise, and here’s why.

That way when Aziraphale makes his decision, he won’t worry about it afterward.

I mean, think about Aziraphale after he makes the decision to help thwart the apocalypse & raise Warlock with Crowley. Crowley’s the one voicing his worries in the flashes we see, not Aziraphale. Aziraphale’s fears have been squashed by Crowley and now he Knows he’s doing the right thing, no anxiety present.

So the thing is…he needs Crowley to do it again. He’s giving Crowley the opportunity to ease his fears again.

And Crowley tries to because he knows that’s how this song and dance goes:

He tries.

Aziraphale has spent the past 6,000 years putting boundaries on who and what they are to each other.

Crowley has spent 6,000 years trying to respect those boundaries. He’s ass over teakettle in love with Aziraphale, but he’s spent 6,000 years knowing that he can’t say that because to love one another is to disobey orders.

Something that Crowley is very comfortable with, but which Aziraphale is not.

And, of course, to say that first would be making himself too vulnerable. If he says it first, what if Aziraphale balks? What if it’s not okay to love him?

Of course, this whole conversation between them is a love declaration and Aziraphale does balk. And Crowley, as he walks away with a crumbling heart, is secretly glad that he did not say the words.

So he chooses the word “friend.” His question is calculated, but it’s also a miscalculation.

“How long have we been friends?”

Because I think that “friends” is a bucket of cold water for Aziraphale.

It’s the very moment when he starts to backtrack. It’s when he starts to pull away from Crowley and everything that’s being offered. It’s when he starts building up his walls again.

It’s not that Aziraphale doesn’t value what they have–it’s not that what they have isn’t enough–it’s that he is in love with Crowley and he erroneously assumes that he needs more in order to turn his back on Heaven.

He wants the big sweeping gesture, he wants Crowley to say, “I’ve been in love with you for six thousand years, run away with me before the Apocalypse comes.”

Aziraphale has no doubts at all about how he feels about Crowley, but if he’s going to give up Heaven, he needs to know that Crowley doesn’t have any doubts, either. He needs to know that they’re on the same page, that they always have been.

He thinks he needs more of a commitment than “we’re friends, let’s go off together.” (Probably because among his first editions, he has quite a few trashy romance novels. Don’t base romance on that, Aziraphale, ffs.)

And Crowley? Crowley is looking back at the past six thousand years and assuming that the commitment bit was obvious. 

Aziraphale wants a big gesture because he’s looking for Crowley’s behavior to change, and to change in a way that indicates his feelings. He can’t turn his back on Heaven for things that are unsaid. 

The problem with that, though, is that Crowley’s behavior can’t change. It can’t because he’s been in love since they met. He’s ALWAYS acted in love, he can’t just start now because Aziraphale’s ready for it.

Aziraphale wants a big sweeping gesture and Crowley thinks that standing there with his arms wide open, offering to run away together, is the gesture.

These dumbasses are so close to getting what they both want, it’s right at their fingertips. They’re on the same page of the same damn book, it’s just different translations.

Now please look at it again, along with what Aziraphale says next:

the thing 

that absolutely kills me

about this fucking part

is that Aziraphale can’t even look at Crowley when he says it.

That very last gif, he manages to glance at him for a second before he has to look away again, but other than that, he has to look away when he rejects what Crowley is offering, while he rejects what he so badly wants to accept

The other thing that kills me–actually there are two other things.

One is the look on his face as he says, “We’re an angel and a demon,” as if he’s having to remind himself of this fact.

They aren’t friends. They can’t be friends. They can’t be more. They are an angel and a demon. There’s no future for them; there can’t be, because this is what they are.

The other thing that kills me is that that line–”We are an angel and a demon.”–is such a meaningless party line and they both know it.

They’re so far past what they are that the fact that Aziraphale has to remind himself of it is telling in and of itself. 

It’s such an arbitrary thing to them at this point that Crowley doesn’t even bother arguing with it. 

The idea that that’s a reason to do or not do anything is just silly, honestly.

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How does this even happen

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Idk it could be bc America is a scary place filled with 2 faced assholes so how about we just compromise

TOMORROW IS HALLOWEEN!!!

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Agnes describing five: he had a tattoo and also

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I kinda guessed that's what they do but I figured it out right before it was revealed because in the park on the bench "Crowley" is sitting straight with good posture and his hands in his lap and "Aziraphale" is slumped over with his arm over the back of the bench and it's because they were able to give up the facade around each other

Okay, but, do you know what we’re not talking about enough? The body swap scene.

So, in my opinion, the mark of a good plot twist is that you shouldn’t see it coming the first time around, but the second time through, you should wonder how you possibly missed it. The body swap scene is that 100%.

David Tennant plays Aziraphale-as-Crowley almost identically to how he plays Crowley. The exceptions are marvelous to watch – seeing the Bentley is my favorite, when Aziraphale-as-Crowley smiles more broadly and easily than Crowley ever lets himself until the end dinner at the Ritz be still my heart.

But in Hell? No discernible difference. The swagger is there. The casual seeming disregard for the danger he’s in. Seriously, the energy of his entrance when he’s brought into the courtroom is identical to his “Hi, guys” in the graveyard at the beginning.

I love this. Because it’s how Aziraphale would play it. Hell doesn’t frighten Aziraphale the way Heaven does. Demons are, in his book, straightforward. He just has to out-intimidate them, and Crowley already does that. So be Crowley, and that’ll do the deed. And he knows Crowley well enough to pull it off without a single hesitation. The only time it felt even slightly not-quite-right (in terms of not questioning that it was Crowley) was the utterly amazing little nose wrinkle. And I’ll forgive Aziraphale that – he knows he’s won; he can gloat a little.

But MICHAEL SHEEN, FRIENDS.

Crowley-as-Aziraphale is a completely different story because Crowley is not as good at the facade as Aziraphale is. 

He almost is. When Crowley-as-Aziraphale is getting dragged away by the angels? That reads as Aziraphale 100%. But in the park with Aziraphale-as-Crowley? In the bookshop? And especially in Heaven opposite the angels? That is so obviously Not-Aziraphale that I DO NOT KNOW how I missed it the first time through. And that is a testament to Michael Sheen’s talent.

Aziraphale is a being who shows emotion with his entire self. He is never still, not his hands, not his body, not his face. Everything he is feeling plays out across every inch of him. He is effusive and genuine and has no idea how to push away any emotion even a little bit.

Think of all the other times we see him in Heaven! He’s nervous, he’s anxious, he’s flustered, he’s doing that thing with his voice and his face when confronted with these beings who genuinely terrify him. He can’t hide it. 

But Crowley is all too familiar with pushing down emotion. Crowley is guarded, he is caution personified, he reserve and preservation, and with his angel’s life in his hands, on Heaven’s home turf? He can’t shake that.

Crowley-as-Aziraphale is so still. His face, his body language, his posture, it’s all this perfectly calm facade hiding a smoldering fury that Aziraphale might be incapable of achieving. But when Crowley-as-Aziraphale is confronted with the angels and see how they treat his soulmate best friend, he cannot hide that fury. It’s in his eyes, his face, his voice. But Michael Sheen-as-Crowley-as-Aziraphale plays it so well because it comes across as Crowley-as-Aziraphale saying to the angels, You broke him. You pushed him too far and you broke him and this is what it looks like, and you should be terrified.

And it’s all so perfect, and they’re both so talented, and I don’t think we talk about it enough.

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the switch from ‘a girl worth fighting for’ to coming upon the decimated village in mulan is THE MOST kick-in-the-teeth mood change IN ALL OF CINEMA

[deanwinchesterisafeminist-blog]

oh fuck, oh god

1. The Nazis recognized Crowley. They had never personally encountered him before - “Mr. Anthony J. Crowley! Your fame precedes you.” But they knew him by reputation; enough to know his full name, and to recognize him on sight.

2. The Nazis obviously have some kind of grudging admiration/respect for Crowley, and yet also were immediately prepared to murder him as well. “The famous Mr. Crowley. Such a pity you must both die.”

3. Rather than pulling the trigger immediately, the Nazis hesitate and listen to Crowley when he starts telling them something Very Important - but then scoff, and immediately assume he is feeding them false information.

4. Crowley knew that the bombs that night were due to fall on the East End, and had sufficient warning of such to be able to pull off his ‘last-minute demonic intervention’ to get them to drop on the church instead.

5. Crowley knew about the gang of half-witted Nazi spies running around London blackmailing and murdering people.

6. Crowley knew down to the minute exactly when a Nazi spy deal involving Aziraphale was about to go down in that church.

Crowley was working with British counter-intelligence.

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The one fight scene in the flash where they beat up bad guys to Dragula

my list, in no particular order, of when a soundtrack has absolutely went off it’s tits to give some of the best moments in any media.

infamous quicksilver scene from x-men apocalypse (”sweet dreams are made of this” playing as he saves everyone from the manor)

the inexplicable use of supermassive black hole by muse  in twilight during the baseball scene

the scene in umbrella academy where five fucks up all those agents in the diner while “istanbul (not constantinople)” plays in the background

what’s up danger playing from into the spiderverse when miles takes the leap of faith

the start of spiderman homecoming when they played the orchestral version of the spiderman theme for the first time

sweet victory

“sitting there useless as two shits hey, turn around bend over i’ll show you where my shoe fits”

the part in rwby where they slingshot ruby at the nevermore while the final part of red like roses pt.2 plays, the guitars blaring as she goes up the cliff and ending with the beheading

“I AM MOANA”

busted from phineas and ferb

the end of guardians of the galaxy volume 2 where they start playing father and son

the part in thor ragnarok when hela asks thor “what were you the god of again?” before thor attacks her and starts going batshit crazy on the undead army while led zeppelin’s immigrant song plays

as this is by no means a comprehensive list, please add any soundtrack moments that were so Fucking Good they made you have a physical reaction.