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Cleaning out my phone for storage and i was really cooking in the notes app here

[notes app screenshot:

Trek music head cannons (serious)

TOS

Jim: Joni Mitchell (I will not be elaborating.)

Spock: Mitski, Weyes Blood

DS9

Sisko: Billy Paul, Father John Misty

Kira: I just feel like if (keyword IF) she ever gave human music a chance she would rock with The Cranberries. Miles introduces her to them while’s she’s carrying Yoshi

Jadzia: B-52s

Bashir: Blur, Nelly Furtado (half joking half very serious)]

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Help, I’ve been called out.

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Since you asked for art requests… my default existence is always wanting to see more Priest Aziraphale with (a very tempting) Crowley 🙏

temptation accomplished!

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What's a movie you love but would frankly discourage anyone else from watching?

instinctively my first thought here was i saw the tv glow. i’ve not stopped thinking about it since i saw it. i’ve been feeling guilty like am i turning the tv off?? so this doesn’t answer your question truthfully because i would rec it to people in general but i would tell [trans] eggs to only watch it if you can handle being scooped out like a box of ice cream and have the rest of you in a meltdown

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feeling something about... crowley at the beginning of season 2 telling aziraphale "you're on your own with this one." and then crowley at the end of the season, leaning into aziraphale like it's their secret and saying, "i won't leave you on your own."

it's in how he says "i mean, in the last few years, not really" about how they haven't had to pretend not to be each other's anymore and it's just so clear how all this time, all this fucking time since the apocalypse-that-wasn't he's been treating aziraphale without any more of that pretense. instead he treats him with this terribly soft tenderness, this long-suffering fondness, with the protectiveness that comes of someone being fundamentally yours to protect in the first place and you being theirs in return. this sort of foregone conclusion of a commitment that lets everyone know he's completely aziraphale's and he's got eyes and attention for no one else

it's in how he not only humors aziraphale's magic act but also gives him a genuine lovely pep talk like a supportive partner. it's in how he walks into the magic shop trailing after him and watches aziraphale get excited over the magic tricks with that sort of air of someone watching their partner deeply enjoy a thing - it's just got this, this energy to it, it's in his body language, like, yes, he's here with me and i'm here with him and we're going to leave together as well. it's in the way he tells aziraphale "you read too many books," all soft and indulgent and you know he's thinking he wouldn't want aziraphale any other way

it's in the way he got dressed flashy to go to the pub and he ordered aziraphale's drink for him and brought it back to their little table; and it's in the way he changed into a collared shirt for aziraphale's event. it's in the way he tosses aziraphale's books around while he's minding the shop for him but will never sell a single one in his absence and it's in how he tidies up the shop back to just how aziraphale likes it after the ball. it's in the vulnerability of not wearing his glasses any longer when he and aziraphale are alone together and how he tosses them aside like they're just another thing separating them, for almost the entire season

it's in how he says they're a "group of the two of us" but he sees them as a couple, and he acts like it too. like. he doesn't think he needs to talk, he doesn't need to say it, it's all there in every. single. thing. he does. it's in the lovelorn soppy glances he gives aziraphale across their table and the voice he's got reserved just for aziraphale and it's like, genuinely it's unhinged how much he loves, loves, loves him

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Michael Sheen as my sexuality Mrs. Robinson - part 1/2 There's Something about Movies, 2019

Has this scene been gif'd before? Yes. Did I still go back and make 2 dozen more? also yes.

@goodomensafterdark

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just remembered shows used to have 20-25 eps per season

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There’s a post about how we need more female characters who genuinely care about people but are really bad at caregiving, and honestly that fits Kira Nerys really well. I’m thinking of Starship Down where she’s tasked with looking after Sisko and keeping him conscious when he has a head injury, and she just starts visibly flailing despite making an effort to hold it together. “Listen up…. because there’s going to be a test later” and then trying to keep him alert by droning on about duty rosters because she gets Task-Oriented when things are in dire straits and does not know how to scale things to a more personal level with someone she has a working relationship with.

Like, so much of how she deals with emotionally fraught situations is by getting up and doing something about them (even so far as traveling back in time) or just keeping busy to avoid dwelling on the matter at hand. When her father was dying, her response was to go out and kill some Cardassians about it, and then order another attack upon his death, rather than sit by his bedside. When Bareil died (pre-resurrection via mad scientist noodling) she went right back to work despite Bashir telling her she didn’t have to. It is a trauma mindset from someone who witnessed a lot of death and suffering and had no choice but to pick up and keep moving and keep fighting. And when she has to sit down and really focus on someone else’s vulnerability, it’s very uncomfortable for her. She cares very deeply about the people around her but she’s clumsy about it.

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Crowley’s Mayfair flat design (concept art) for season 1 was inspired by an art installation in the Royal Academy of Arts called “Sensing Spaces”; in particular this piece from Grafton architects.

This installation “aimed to evoke the experience of contemporary architecture within a neoclassical environment”. Especially the light “coming in” from overhead was the most important aspect.

Most poignant of all was to recreate the light sensation of both moon and sun simultaneously.

The spatial qualities of light and shadow shaped the installation by Yvonne Farrell and Shelley McNamara of Irish firm Grafton Architects. The architects suspended large wooden structures from the ceilings of two galleries to recreate the experiences of both sun and moonlight.

The structures by Grafton Architects, founded by Shelley McNamara and Yvonne Farrell, hover above Gallery IX and the Lecture Room, suspended from the roof lights above. In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios, two dramatically different compositions have been made. Choosing only to work with the roof lights, both installations feature a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space. In the Lecture Room, a series of dark, brooding and apparently massive solid forms obscure most of the existing ceiling and roof light, articulated by two relatively small, high-level ‘apertures’ or openings of light. In contrast to this, Gallery IX features nine blades, suspended in alignment with the gallery’s exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light. While both installations drop down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces, two entirely different relationships are established between the floor and the light. In the Lecture Room, the installation intensifies the perception of distance between the floor and the light, while in Gallery IX the hanging blades bring proximity and unity. By quoting American architect Louis I. Kahn’s statement that ‘to hear a sound is to see a space’, Grafton Architects allude to a consistent ambition in their work to make space tangible. As they put it, they seek to ‘make as much nothing as possible’, and to structure space through the careful orchestration of the passage of light and movement through the void. In response to what they refer to as an ‘amazing generosity of space’ within the Main Galleries of the Royal Academy, their installations set out to radically transform each visitor’s perception of the familiar. As such, between Gallery IX and the Lecture Room the architects have created two distinctly different scenarios which, when experienced side-by-side, set up a powerful spatial duality and tension that reinforces the qualities of the existing rooms while radically transforming them into something new. (for a complete 360 view of the rooms)

‘As well as enabling us to find greater pleasure in the spaces we inhabit, this exhibition will perhaps heighten our awareness of the sensory realm of architecture and thereby encourage the creation of a more rewarding built environment.’

From Michael Ralph: Crowley’s flat was the first piece of concept art he did before booking the job, and it stayed the same. He sent in seven pieces of concept art before he went for an interview, and four of them stayed exactly as they were – nothing changed from his original instinct. The idea of the apartment was for it to be almost a cement tomb but with a very high ceiling (hanging in mid-air) so there was a sense of light coming in from a very high level.

And just a piece I want to highlight: "manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space."

In a way, the flat has always possessed a bit of light and shadow, something reflected in Aziraphale and Crowley's own essences.

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With the knowledge that Vulcan has regularly high winds & subsequent sandstorms I propose a type of guy: midwestern dads watching tornadoes but for Vulcans. Somebody's uncle Sovar standing outside with his hands on his hips watching a massive cloud roll closer. Unconcerned because this happens, like, every couple of weeks. He's like "this one is large, is it not" yes it is go back inside Sovar

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Good Omens as Staged S1 quotes because why the fuck not

Aziraphale: Is that you on that mug? Crowley, drinking out of a mug that very clearly has his face on it: No.

Aziraphale: Oh well I assumed if you were ok with the kids robbing total strangers you’d be fine with them ignoring the two meter rule. Crowley: Ethically it’s a grey area, I’d say.

Aziraphale: If I met you now, for the first time, and I didn’t know you, I’d think “He’s up to no good. Crowley, leaning forward conspiratorially: I uh. I am…actually…up to no good. Aziraphale: Really? Tell me more.

Aziraphale: You are sneaking out, under cover of night, to hide your bacchanalian embarrassment in your octogenarian neighbor’s bin. Crowley, very indignantly: Bacchanalian embarrassment?

Aziraphale: Whats that smell? Crowley: Lasagna Aziraphale: My lasagna? Crowley: I’ve added my own special topping. Aziraphale: Mmmmm Crowley: *Has added white chocolate shavings*

Crowley, sarcastically: You lied. I think you should stand in the corner for half an hour

Crowley, whispering:You know you could just…break the law. Aziraphale, also whispering: Oh, really? Crowley, still whispering: Yeah. They’d probably let you through if you said it was for, you know, love and stuff. Aziraphale: *nods*

Crowley:Sorry I've got to go drop some stuff off for my neighbor. Nina: Oh well that's kind, isn't it Aziraphale? Aziraphale: No it isn't she's blackmailing him.

Aziraphale: Oh Crowley is a wonderful collaborator. Crowley, in the background: My script has completely disappeared. Aziraphale: Yes, very focused. Crowley, still in the background: I mean if it was anything of value I’d assume the kids had taken it but it’s just a shit play. Aziraphale: 😐

Aziraphale, coming back from Edinburgh: Well the bookshop still appears to be standing. Crowley: I’m sensing your tone of surprise. Aziraphale: Well I’m not trying to hide it.

Aziraphale: So how’s the writing going? Crowley: Good. I finished the screen play. Aziraphale: Ooooh. Can I read it? Crowley: No. Aziraphale: Why not? Crowley: Because it might be shit. Aziraphale: Well I could help. Crowley: …It’s already in your inbox I sent it like 45 minutes ago.

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You see, because he didn’t actually say a word in Klatchian, you see 🙃

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Been drawing anatomy things... (1st and 2nd cervical vertebrae, and ligaments of the foot)

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one time when I was a barista I was telling my coworker that I suddenly really missed cows. I used to work with cows all the time back home and then I moved away and suddenly it had been four years and nary a cow.

15 minutes later this old guy came up to the counter with his address written on a napkin & he said “me and my wife have a whole herd of dexters and a couple of new calves. come on over any time”

so after work I was like ok fuck it & I drove to the address and I parked at the gate & I walked down the driveway to the barn and this woman was like “oh my husband told me you might stop by! come see our cows” and she introduced me to every single cow. made my whole week.

thank you cow couple

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Paul McGann as the Eighth Doctor, 2023/2024

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Aziraphale surrounded by what (and who!) he loves~