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electric-era00 · 10 months

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Bottle It Up: the most tangible theme in OFMD s2

So looking at s2 through the (super fucked up) lens that Jim asking Frenchie “How are you handling all of this so well?” And Frenchie responding by saying he puts all the terrible things in a box in his mind and never opens it again was the lesson everyone was supposed to learn this season and like, that’s there in the text more than anything else and I hate that.

Frenchie is handling everything well because he’s putting it in the box and never addressing it again.

Izzy finally says he has love for Ed, everyone is worried about him, the atmosphere is toxic and suggests talking it through and Ed goes on deck and points a gun at everyone as he asks them to talk about it, and when Izzy finally does address the reality of things and speaks Stede’s name aloud he gets shot in the leg.

Lucius isn’t talking about what happened. Avoidant about the Rat Boy name at first, says he fell off the ship, can’t remember when he picked up smoking.

Stede asks Lucius to talk to him about what happened after he was pushed off the ship, and Lucius starts to and almost immediately Stede runs away saying to save the rest for Pete.

Lucius says he talks to Pete and Stede says “please tell me you held back on some of the darker stuff” and Lucius confirms he did because Pete got nauseous and started crying.

Lucius tells Stede he should look past the man he loves and examine all the awful things he did, but Stede brushes it off and doesn’t do that.

No one will tell Stede they killed Ed. (Arguably this is for their own safety as well but it fits the whole “we’re not talking about the hard stuff” theme so I’m including it)

Ed finds out Stede went home to Mary through Anne Bonny. Stede begins to try to explain but instead, Ed smashes his chair against the wall and walks off. They have a very brief conversation with mention that Stede was kidnapped by Chauncey then watched him die.

Ed gives his influencer non-apology that was clearly written by Stede to the crew, and everyone but Lucius and Izzy seem to have forgiven him. During the “apology” Jim talks about how it made them feel and Stede shushes them so Ed can keep not apologizing. Afterward, for some reason, Jim says immediately says “I thought it was pretty solid for him” Archie says that’s how it goes in situations like this, Roach has never heard an apology before so they’re all good apparently now.

Lucius pushes Ed off the ship but isn’t okay yet. We’re addressing the trauma here and trying to make it right (even if it’s in a messed up way); we’re finally talking about it directly, but Lucius isn’t okay after this.

Fang tells Ed he’s not mad at him because he got it all out of his system when they beat him to death.

The whole Lucius/Izzy exchange “A shark did this to me. Dangling my legs over the side of the ship, served me right too.” “Okay, that seems healthy. Using a bit of fiction to cover up your trauma.” “Not moving on is worse.” (Another point at which Lucius wants to resolve trauma and he’s told no, don’t talk about it)

Lucius is clearly coping poorly and tries again to talk to Pete about how he almost died and Pete says he should find him when he’s no longer thinking about his trauma (“find me when Blackbeard isn’t living rent free in your head”) and that Lucius should talk about how he lived instead. Lucius then seems to decide that he’s fine, proposes to Pete, and is seemingly okay after that. (5th point in the story when Lucius tries to talk about something to heal and is told no in some way, and here is when he finally seems to moves on and is played as “better” after this)

Izzy’s drinking a lot even after he’s not totally dysfunctional like at the end of ep4.

The only Ed apology to Izzy is “Sorry about your leg.” With no eye contact as he’s walking away. To which Izzy responds “Fuck off.” After Ed’s out of ear shot.

Stede suggests Ed can absolve himself of everything by “turning the poison into positivity” and selling his treasure he got during the time he was abusing the crew to buy party supplies. Stede later says at the party that yes, Ed has achieved turning the poison into positivity, though Ed has done nothing by throw money at the problem.

Stede ignores Ed’s warning about not being able to come back from killing in cold blood and kills Ned Low.

Stede is visibly upset and Ed goes to check on him and begins to start talking, but Stede wordlessly grabs him and slams him up against a wall and then they have sex (which Ed has requested to wait on) instead of talking about it.

Ed decides he’s leaving to become a fisherman because Stede is infamous now and Ed’s been wanting out of that life so there’s a brief disagreement where not much is said and then he leaves.

“I’m sorry I was such a dick.” Is the biggest apology we’ve gotten all season. It’s immediately dismissed as “you’re not a dick. Life’s a dick.”

No one in the crew seems to be mourning Izzy’s death and we as the audience seem expected to move on from it very fast. Avenging his death is proposed by Zheng but then it cuts to nope, we’re done with that and we’re inn keepers now instead. Put the terrible thing you’ve seen in the box and never open it again.

I’m definitely sure I forgot some of these and it felt at first that these were being set up to be played negatively because this is the don’t-bottle-it-up/healing-from-our-traumas show but that just doesn’t play out. Like so much of it’s either dismissed without reason, played as a joke, or framed as acceptable and the fact that I could pull so much more of this stuff out of the text than I could any other potential thematic element does has me just so baffled. I don’t know what to do with it.

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electric-era00 · 11 months

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Izzy x Lucius Rec List 1

Canon Timeline

Same Time, Same Place by prizewinningfruitcake

38K. After the events of S1 Izzy and Lucius find themselves in the same port town. Lucius is thriving and Izzy is not doing so well. I find interesting how the characters collide in this one. Eventual Top Lucius, Bottom Izzy. Comfort 10/10. Hot 10/10.

The Crumbs of Love That You Offer Me by Internerdionality

57K. S1 Canon timeline. Izzy and Lucius seem to keep falling together. Top Izzy, Bottom Lucius but later they switch. TW Chapter 3. Hot 10/10

Damned if I’m going to lose it by DefNotForWork

20K. Lucius observes Izzy. Very poignant Izzy character study. Disgruntled Izzy 10/10. Hot 10/10

Only Port In a Storm by Jamierose1228

Very good cuddling fic. Comfort 10/10. Need to be logged in AO3 to open.

Cut to the feeling by katonline

42K. Book convention AU. Lucius as Stede’s assistant. Izzy as Ed’s business partner. Top Izzy. Bottom Lucius. Disgruntled Izzy 10/10. Hot 10/10

Irredeemable Bastards by Cat_In_A_Top_Hat, tardigrape

38K. Art thief’s AU. Pickpocket Lucius. Tech Wizard Izzy. Izzy and Lucius start being competition but then join together. Crafty Lucius 10/10 Art Heist 10/10

But These Are The Wounds Of Love by rimbaudofficial

14K. Shared injuries soulmates AU. Izzy thought he didn't have a soulmate until he started getting injured at a later age and realized his soulmate is someone much younger. Comfort 10/10. Romance 10/10.

Spoons by Roberta Seaport (Deepdarkwaters)

7K. Part of the Seaglass AU series, where Ed and Izzy are BDSM leatherworkers and Stede runs a knitting shop. The author has a companion series that follows Lucius, Pete, Fang and Izzy. This entry, Spoons, focuses on the growing relationship between Izzy and Lucius. Top Lucius. Bottom Lucius. I think it can be read as a standalone but the rest of the series is great too. Hot 10/10.

The girl under you that makes you cry by CyborgShepard

6K. Bar/Cabaret AU. Lucius as cabaret dancer. Izzy as disgruntled bar man and business owner. Sparks fly. Top Izzy. Bottom Lucius. There's a second part in this series that is as good or better. Disgruntled Izzy 10/10. Hot 10/10.

And a silver sixpence in his shoe by CyborgShepard

57K. Camboy Lucius AU. Stede/Ed Wedding AU. Lucius as after hours camboy and Stede’s assistant during the day. Izzy as Ed’s best friend and unsuspecting patron to Lucius's cam site, until they meet. Top Izzy. Bottom Lucius. Plot 10/10 Hot 10/10.

Darkfic /Dead Dove

(Please read trigger warnings in the fic tags. Sensitive readers thread carefully. The following listed fics get more dark as you read down)

Wake the White Wolf by shiphitsthefan

13K. Vampire the Masquerade AU. Vampire Izzy seeks out Vampire Lucius, a known cannibal. You don’t need to know anything about the Vampire the Masquerade world before reading this, I think it adds to the mystery. Dark and erotic. Top Lucius. Dangerous Bottom Izzy. TW Deals with murder, cannibalism and a suicidal character. Disturbing 10/10 Hot 10/10.

Masochists, Sadists and Narcissists; All Hail Terpsichore by Cannibalsnplaid

50K. Ballet AU. It’s written beautifully and the author is a ballet connoisseur. Top Lucius. Bottom Izzy. Beautiful side of Izzy/Ed friendship. TW Izzy deals with current/past sexual abuse. Plot 10/10. Romance 10/10. Hot 10/10.

who would trade that hum of night by CyborgShepard

9K. Lucius has been taken by a rogue band of men and they have abused their prisoner, to say the least. Izzy walks in to the bar where he is held captive. Very dark and cruel but also tasteful, beautiful and heart warming by the end. One of my absolute favourites. TW Sexual enslavement and abuse. Disturbing 10/10 Hot 10/10. Hurt/Comfort 10/10.

#lucius spriggs #izzy hands #sprizzy #lucius x izzy #fic rec #izzy x lucius #ofmd #ofmd fanfiction #fic rec list

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electric-era00 · 11 months

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electric-era00 · 11 months

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Doing away with Izzy was not a good idea

I’ve gathered my thoughts about why doing away with Izzy Hands character was not in the best interest of the show.

1. OFMD S1 was beloved because at its core its’s a show about the possibility of change, happiness and love at any age. Ed and Stede are middle aged man that are settled into their lives before they find each other, fall in love and are forever changed.

A lot of us expected that the love that Ed and Stede found would be larger, that it would reach other characters, even someone like Izzy. In certain ways their love did reach Izzy and changed him, but with his death the message of the possibility of change and happiness at any age is somewhat undone. I suspect this is the reason a fair share of the audience is upset at his passing.

2.At the heart of OFMD there are two characters: Lucius and Izzy. These characters are essential, along Stede and Ed who are of course the protagonists of the show. In S1 Lucius and Izzy are paired with Stede and Ed, respectively, and mirror them as friends and guides - the guiding part is seen more clearly with Lucius to Stede in S1 and Izzy to Ed in S2. Much has been said about the toxicity about Ed and Izzy’s relationship and I’ll make a separate post to discuss it. In this point I want to mention that Lucius and Izzy represent the extremes of a younger and older generation of queer experience, with their respective quirks and foibles that have been exaggerated for comedy. These two characters are essential and doing away with either of them takes away from the thematic richness and comedy in the show.

3. Izzy is a foul mouthed dour character that plays the “straight” in every comedy scene he’s in. A room full of funny people isn’t as funny. Because Izzy is the character with the most gravitas and pathos in the ensemble every other character bounces of him and the results are hysterical. Who will replace him in this role next season? Other “straight” characters are Zheng, Jim, Olu, Wee John and Jackie. Unfortunately I don’t see any other character playing this role as effectively, but it’ll be interesting to see if the writers can make it work.

#ofmd s2 #ofmd #izzy hands #israel hands

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electric-era00 · 11 months

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This so much! I think this explains the upset at Izzy Hands dying. It doesn’t sit right because Izzy and Lucius were the heart of the show, along Ed and Stede who are the protagonists of course. Izzy and Lucius represent an older generation and a younger one, with their respective quirks and foibles. OFMD S1 was about the possibility of change, happiness and love at any age. This is the reason why no one expected Lucius to be dead at end of S1, it would have been a huge betrayal. This is the reason that people are hurt over Izzy’s dead, it seems a reversal of what made S1 so beloved.

tbh I think the writers just didn’t pay attention to the show they ended up writing and instead stayed focused on the show they thought they were writing.

Neil Gaiman has a great bit in his MasterClass about how you need to read through your story after you’ve finished your first full draft to see what the story is really about. Then you go back through in editing and punch up the bits where it’s “about” and remove or alter the bits where it’s not “about.”

So what happened in OFMD S2 isn’t something that’s strange or uncommon. There’s endless cases of episodic media where the writers lost track of their characters and their motivations and instead focused on achieving the plots or scenes they originally wanted. In some cases this feels strange, especially when the writers don’t change from iteration to iteration, but in this case it makes perfect sense.

Because the writers didn’t create these characters; the actors did.

Every actor was given the task of creating their own character and backstory during their audition. Even the established characters (Ed, Stede, and Izzy) were said to be fundamentally altered after the actors were cast because of how the actors breathed life into them. If you look at the original pilot script, almost none of the characters are recognisable as the characters who ended up on screen.

So I don’t think all of the OOC actions and dialogue and hand wavy motivations this season were truly intentional on the writers’ parts; they just weren’t paying attention to who their characters became or what their show ended up being about.

To be honest, it feels like we are a crew being led by season one Stede Bonnet, who purports to be all about kindness and care for his crew but only shows care and concern in the ways he thinks they want, based on whatever it is he would want.

This misalignment of needs and wants between the captain and his crew is the one of the core conflicts during S1, so in many, many ways it’s shame that the writers didn’t review their finished story to see what it was truly “about.”

#ofmd s2 #izzy hands #lucius spriggs #our flag means death #ofmd spoilers

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electric-era00 · 11 months

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Also RIP Sprizzy, you were a fun rarepair and for a second there (the giving of the shark) I really thought you might become canon outta nowhere

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electric-era00 · 11 months

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-- you still mad he pushed you off the ship, twatty?

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electric-era00 · 1 year

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Actually, I need to scream about one thing

The crew chose Izzy, and Izzy chose the crew

(More spoilery screaming under readmore)

I am going feral over Izzy trying to end himself, failing, waking up, and deciding “I guess I keep living then” and climbing all the way out on deck to save the crew.

The crew that saved his life even though they didn’t have to and had no reason to (pointed out by Archie).

He chose them over the man he once killed the former first mate for and swore his loyalty to (this act being implied by Ed).

He chose them over his friend.

He chose them because they chose him.

He literally took a bullet for them.

He tells Stede that the two of them can’t fail this crew again.

Izzy chose the crew.

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electric-era00 · 1 year

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I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

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electric-era00 · 1 year

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why does crowley snap and shout at aziraphale so much? doesn't he like him? :(

I'm pretty sure he likes him.

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electric-era00 · 1 year

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Guys, don’t worry. These idiots are so in love they haven’t realized it yet. Did you watch the same S2 I did? A fight is not going to do anything to them.

They will continue to gravitate each other and fall back together. Easy. Love should make our lives easier, it is not meant to be hard but if it’s real it has a knack for doing this, pushing you towards change and growth.

As they currently are they can’t very well take care of each other I’m afraid

—Aziraphale is a guardian. He’s a bookseller and a landlord. He likes to belong. He likes being busy and following rules. He is known to shirk duty yes, but only when the work is futile, and has lied only a handful of times in his career.

Fundamentally, he’s not going to be ok running away with Crowley to Alpha Centauri.

Furthermore, as he currently is he doesn’t understand how much he loves Crowley. He currently doesn’t appreciate Crowley enough. He must think he’s drawn to the “goodness” in Crowley or some nonsense like that and must think Crowley seemed happier as an Angel when he used to do more Aziraphale-like things.

— Crowley is the more free spirit of the two of them and he has great wisdom and talent. But he is depressed, probably burnt out from his previous life. He’s withdrawn and running away from everything makes sense to him. He thinks it’s foolish that Az wants to change things from within, and maybe it is, but also maybe it’s better than giving up. He needs to start painting, writing or *gasps* taking care of a bookshop.

S3 Predictions

-Gags about Crowley sticking around the library. Being teased by Muriel, Maggie and Nina

-Gags about Crowley not being able to stand Muriel, who is a bit of a mini Az

-Gabriel and Beelzebub will be returning. These guys ran away together but have barely spoken to each other! They were probably burnt out from their jobs.

-Gags about Az going completely insane in Heaven, on his own, without anyone to contain him. This guy is a loose cannon. I am pretty sure Az will fare worse than Crowley but I’m not sure what that will look like.

#good omens #good omens 2 #ineffable husbands #good omens s2 spoilers #good omens s2

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electric-era00 · 2 years

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Scarborough Ahoy! (1994 Short Film)- Day 4 Watching Con's Filmography

Live posting. All I know is this is sad(don't know why), short, and that Con is good (and queer) in it. Watching it in 480p, so we'll see.

YELL AT ME BELOW! I NEED YALLS OPINIONS ON THIS!

Warnings for: Suicidal Ideation, full body nudity.

Also, the movies description describes Con as the 'Gay Guy' and 'Barmaid'. So 'Con' and 'Barmaid' is what I'm calling them. I'll specify Con the Actor.

Casually kicking a one-night stand out; GET IT GIRL. Didn't expect that level of nudity, but here we are.

CONNNN! He's slightly older in this one compared to Dancing, and I already don't feel wigged out.

Con's semi-startled look at 'used to get laid all the time'. Me too, babe, me too.

As a person who hates booze, the bar scene made me physically nauseous.

Con, being a bro, and making sure she was alright. Love that for him. She needs a friend.

HAHAHA Hell yeah, stick up for yourself Con, he's queer, and the guy getting you a coffee.

God, gender fucking envy. And coat envy, that thing looks warm as shit. I missed when my hair was that length(Con's). Shame I need to be more feminine presenting where I live.

DAMN. I wish I was that confident in my driving. She backed up with SPEED.

HELL YEAH, TRIP TO FIND MEN BABY! God, I know England isn't affordable to anyone, especially foreigners, but god its nice to be able to drive that in a day and actually go somewhere

Con, stop wearing my dream wardrobe. I want that fucking sweater.

OH MY GOD. This is real ally behavior, compete to see who gets more guys

Synchronize watches! The confidence into immediate, oh shit, how the fuck do i do this on both their faces is great.

Santa, fuck off.

(Con making out with a guy)Now. How the fuck haven't I seen gifs of this. tumblr, I'm surprised you weren't hornier.

SHE CHOSE SANTA. Mam, have some self-respect. I hope he is at least a gentle lover? Laughing as he goes down on you probably isn't great.

AWWW. The way they watched out for each other after getting laid. Happily just walking down the road. Oh my god, help her up. BRO, GET THE FUCK UP OFF THE ROAD.

He straight up said 'boyfriend'. Damn, love short indie films.

24? Fuck him babe, old my ass

Okay, I thought Con was going to say his guy died, not cheated. I'm trained too well in modern......OHH SHIT, whelp (he killed himself)

Babes, please learn to love yourselves.

BANGIN SOUNDTRACK

I Love that they coordinate outfits, either accidentally or not. They are the crew. Hell yeah, the ass-grabbing! Get sailor ass.

Now, mushy peas seems like hell. Actual worse thing on earth

'What's brought this on, catholic guilt?' Mood

'Feels great, sometimes not so great'

'What about love, then.' Awww babe

What game are they playing with all those colors, looks fun as shit. CON LOOKS SO HAPPY. LET THIS MAN PLAY HAPPY PEOPLE. He just fucking giggled, god damn it.

This seems like a nice road trip to mentally reset life for a bit.

Guys, if they're being passively suicidal, then at least they've got each other. See, they pushed and they still wanted to live. Cute shit.

Sexuality being fluid! Great to see this, especially for the 90s.

Love the respecting of boundaries; they both really needed to talk before moving forward. Great shit. It's probably her feeling guilty for 'tempting a gay' but... That feels depressing, so fluidity I will choose.

"Well, you can fix it; you did a course in auto mechanics, didn't you." Hahahaha

GAY EARING ON THE DRIVER. I love that Con's getting as much action as he is.

Nice of her to give them space, ally behavior

CONS HAIR

EXCUSE ME MAM, LET HIM FUCK. RUDE. Stand up for yourself CON! They're just friends. If she wanted more, she needs to communicate that. He's pulling his own and trying to reach out to find a middle ground cause he knows she's angry. I love that he comforts her even though he has every right to escalate this into a fight.

Awww, she saved him the head puzzle piece. Love that he smacked it down. His fucking grin.

THE LITTLE SHUFFLE DANCE. Also, this fucker is stealing my wardrobe again.

OH MY GOD WALTZING. I LOVE IT. Bitch, this is the most romantic thing I've ever seen. THE CINDERELLA SONG! AWWWWWWW. I love them. Bro has to understand how many mixed signals he's sending out here.

Going to the dockyard doesn't end happily in these sorts of films.

He's having thoughts and needs to fuck them out. Fair, she's gorgeous.

SHIT CALLED IT

RUN! GO HELP HIM

At least she realized pretty early that he was out too late.

(Con is revealed beaten up and bloody)SHITTTTTTT Well, that's a head wound. Scuffed hands. Okay, good, I thought he fucking died.

GIVE THE MAN A HUG

AWWW HE SAID HE LOVES HER

DON'T FUCKING LEAVE YOU JACKASS. I've read dozens of fanfic like this. DOZENS

NOOOOOOOOOOO. WHY STOP THIS NOW! I NEED A FULL MOVIE GOD DAMN IT.

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Con's Characters Sexuality Discussion: There are two options here. He's 'gay' as described in the film's synopsis or more fluid in a modern sense. Again, he's willing to fuck her, and clearly cares for her. Who knows if he was 'pushing his limits' and this is why she turned him down. The I love you could be romantic/sexual love, or the love of a friend. Both readings are perfectly valid by the text. The short film ends here to not answer the question and keep it ambiguous.

I'm flipping between this movie being about their friendship and finding someone to be comfortable with, or two people used to having one night stands falling in love. You know what. Both are right! (As a queer who says I love you to my straight friends. Calls them beautiful and does all of the shit Con does here, yeah, the waters are murky, who said you alone need to filter it to solve the art)

I can see a happy ending where they grow to be close friends for the rest of their lives, or just making it a probably short-lived relationship. They're both young and impulsive and need to work on themselves a bit before getting serious, but I hope they can keep this little corner of the world safe.

Cinematography(7/10): Fun! About what to expect from a short film. Nonintrusive editing.

Actors besides Con (8/10): I LOVED THE BARMAID. God, she's so fucking sweet and just needs someone in her corner. She's fun, cocky, and bullheaded in a way that fit's with Con's character. I loved their friendship. I love that she's worried about that and doesn't want to push boundaries. I wish this was a longer movie, I want to see them learning to love themselves and having each other there. Everyone else was unmemorable.

CON! The Actor 10/10: He seems more comfortable in this role than in Dancing. It makes him a more likeable character. Likely due to the size of the project, and experience. He seems like he's found his groove here, and I wish we got to see more of it. Seeing him actually flirt was a joy. Again, personally, I think the 'I love you' could be from a gay 'bff' perspective or he genuinely loves her. I love that they just feel safe with each other which is clearly what they need. Love con's look, dialogue, and everything about how he held himself. He seemed like he really opened up to her verses how Con's character acted at the beginning of the movie. That can be really hard to pull off

Story 9/10: Really fucking fun. Sweet, they both felt stuck in a rut and finally made a friend that understood them. The dialogue/writing is so fucking inspiring as I try to write fun dialogue.

REWATCHABILITY: I would say that compared to the downers I watched yesterday, this overtakes Vengeance. It helps that it's so short.

9/10. I hate giving perfect 10s when I haven't seen everything, but god is this so close. I can totally see myself giving this a retroactive 10. Writing this overview I felt like I was balancing on a tight rope trying to 'figure out' the right ending. But that's kind of the point. The relationship they build is a comfort in a shitty world, and it's fucking beautiful.

I know people said it was sad, but I found it really hopeful? They're still living their shitty lives, but they're not alone anymore.

NEXT! Still plan on Cucumber, 3 steps to heaven for weird Con, and whatever I feel in the moment. Rewatching Blood brothers today with the Brother, so wish me luck.

(I linked some people who commented last post, thanks for the comments as always!)

@treesofgreen

@ivegotnonameidea

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