#Aziraphale trauma about feeling love

[tsnbrainrot]

are we ready to talk about the way crowley's voice shake and he has to hold back tears when he says 'and we've spent our existence pretending that we weren't' or ???

this has hurt him for 6000 years........

[cptnwynnieside]

hmmm.... hm...

yep. I'm gonna throw my self into the sea.

[theclaravoyant]

morning all just thinking about how “hate the sin love the sinner” is a scar in every queer heart I know and that’s what crowley thinks he’s getting from his one and only friend

[bullagit]

i think a not-insignificant amount of the heartbreak crowley’s feeling in the end is  because he’s finally truly understanding that what’s happening with aziraphale (as he perceives it) isn’t something that he can save him from.

[madame-serpentine]

this is such an incredible meta, I’m actually reeling rn

the s2 endgame

an incredibly long post that i will not apologise for but does contain multiple frames of michael sheens face, so-

the first beat, for me, that truly leads up to the kiss is when aziraphale says to crowley, "i don't think you understand what im offering you." because whilst im sure in part aziraphale was referring to the offer of restoration and - as he perceived it - what it meant for crowley (and that's what crowley denied with "i understand. i think i understand a whole lot better than you do."), i think aziraphale truly meant that crowley didn't understand what the restoration could give them. to restore crowley meant that aziraphale could give all of himself to crowley, with no fear of reprisal or comeuppance like they've had to suffer for their entire existence; "pretending that we aren't".

it meant that they could be safe, together, as two angels, and not on opposite sides in the eyes of heaven. they could work together to make things better, but they would be together. crowley was completely justified in refusing the offer, based on his own trauma and pain that heaven unforgivably dealt to him, but aziraphale wasn't necessarily asking crowley to forget or forgive that; but instead to be with aziraphale, aziraphale completely as he is with nothing hidden, nothing repressed, and nothing sequestered away in fear of retribution from heaven - or indeed in fear of rejection from crowley.

so when crowley said he understood more than aziraphale did, i imagine that meant to aziraphale that crowley did indeed see all of that, had heard aziraphale and knew what aziraphale was offering, the security and freedom as aziraphale saw it, but didn't want it - didnt want aziraphale, didn't want that version of us - anyway. crowley didn't mean it that way, of course; he meant he knew that the restoration would trap him, try to make him into an angel he no longer knew or wanted to be, and was rejecting what he thought aziraphale wanted him to be.

but i personally can't conceive any notion where aziraphale would ever have thought this - he's fallen for the not-quite-angel-not-quite-demon that crowley is now - why can't crowley see that? he just wants to give him back the same peace and joy that he had before the fall, but naively cant understand that being an angel doesn't make it so. it's not about being an angel, for aziraphale, but what being an angel could return to crowley... that it could fix the wounds that the fall left behind.

but here we arrive at "no nightingales". given the symbolism in popular culture and in mythology behind the nightingale, and the context of the nightingale in their story, it seems to me like crowley is saying that the conversation that has just transpired between them has broken something. and really broken something. it hasn't broken the love, per se - that's still there - but it's led to their own personal tragedy. their conflicting wants and needs have led to the downfall. that in crowley's eyes, there isn't a way to repair the damage that has been done. he doesn't even qualify that it's 'no nightingales singing', but the full absence of them, meaning that this has changed - poisoned - every chance of what could have been.

"we could have been us" compounds this; that in crowley's mind, there is no possibility of this now. that he knows what aziraphale will decide, what he will choose, and knows that he has already lost; and he's placing all of it at aziraphale's feet. that if the only way to see them be together is to be restored, to return to heaven, then crowley can't and will not do it - he doesn't understand why aziraphale would even entertain the thought and sees it as a reflection of aziraphale's distain for his current self.

aziraphale however sees it as an opportunity to ensure that they are safe in perpetuity, and wants to reverse the fall because the happiness and joy that he saw before is what he wants for crowley now, not realising that the two are, as of now, currently incompatible. so this line is, for aziraphale, the final deathblow; that there is no way back from this, the chance has faded to nothing even if the love between them remains - and they'll never get back the 'us' that existed before the event, let alone the 'us' that they both want now.

the wave hits aziraphale and bowls him over, makes him stagger. what he has been wanting - but couldn't initiate out of fear - is now completely impossible and will never happen. his face crumples, and he turns away, mirrors crowley in not looking at him, not letting him see the vulnerability and the sorrow. he looks to the left, into the dark and away from the light, into the space where crowley normally stands, always by his side, and not on the other side of the chasm that has now erupted between them.

but crowley does sees the face, and recognises it. he's seen it before, seen the expression of when aziraphale hears his sentence and resigns himself to his fate, and despairs in kind that this rift of both of their makings has put in on aziraphale's face. but he also sees it as a mark of hope; can I change his mind? can I offer him something that I haven't offered yet? he can feel the last burning embers of doubt, and he could stoke it. build to a full fire, to an inferno. words haven't worked, they never work - "it's always too late" - but in this case, just one time, action might. so then crowley - oh, crowley - makes up his mind. he has to know, whatever happens, that he did everything that he could possibly do to cling to this dream, this fairytale, where they might get to be together.

and it's pure desperation and determination, the swan dive off the cliff not knowing how far it'll be until he reaches the bottom. there's the smallest chance he might catch an updraft and fly. but the kiss - whether he intends it that way or not - is a temptation. and he's so good at that, isn't he? he tempted aziraphale into eating, he tempted him into dispatching a child... he knows he can do it, and he knows that aziraphale can succumb to it (whether it's because angels can in fact be tempted by demons, or because aziraphale can be tempted by crowley). he has nothing else to lose, but everything to gain, and that everything is slipping through his fingers, "you can't leave this bookshop", so what does it matter if he tries to keep aziraphale in the last way he knows how?

and even then this time, it's more; it's physical, it's raw, and it's human. their common ground. he's the serpent of eden, he tempted eve to the apple, he brought about the fall of humanity. crowley has gone beyond tempting aziraphale with sly words, assurances, and logic; this time, he's putting everything into it, giving it his all, so neither of them can ever say he didn't try. temptation was literally his first order, his first command; his most powerful and yet destructive capability. and each one, on aziraphale's part, has led to manifestly chipping away at aziraphale's divinity, his angelic core. each one has made aziraphale into the person he is today, the person that crowley loves, so whilst it may not be the right thing to do, it's the best chance he has to reach him.

so crowley grabs him, wheels him round to face him, and pulls aziraphale into him. there are no words, there's no gentleness, there's no finesse; it's practically animal, carnal and rough, and everything that - in all likelihood - neither of them wanted when they imagined how this moment would be, if it ever came. and throughout the whole thing, crowley does not move. his grip does not lessen, his mouth does not move, his expression does not falter; it's like he's serpentine again in all but form, constricting and gripping his prey into subjugation. it's instinctive, and unconscious, probably involuntary, but it leaves aziraphale with such little room, no space to breathe.

aziraphale visibly seems to struggle - somewhat physically, but certainly emotionally and mentally - and we can see that predominantly in his expression. he at least almost seems like he's trying to pull away, or create some space between them. it's not how he likely imagined their first kiss - if they ever got to have one and if aziraphale indeed ever imagined it - to be; it's not right, and it certainly doesn't feel like love. love may be behind the wheel, but what is slamming into him in possession, and anguish. i can't believe that aziraphale doesn't know or feel that, not going by the way he reacts. there's also the fact that - as far as we've seen - the last time crowley gripped him by the lapels and got this close to him was at tadfield manor, when crowley was all but raging at him, "im not nice, im never nice; nice is a four-letter word". it's an unmistakable parallel, and it may be that that four-letter word is swapped out for another one, it certainly doesn't feel like it in the moment.

but then aziraphale relaxes, rocks back towards crowley, and returns it. he grips at his back, at the space where resides his wings, and gives back crowley what he's asking for. it might be that aziraphale is trying to be kind - giving him the confirmation that he returns his love even if he can't act on it - or it might be because aziraphale actually realises that he likes it, this kiss, and the brutality of it. it might even be that he knows that this may be his only chance to show crowley that it's reciprocated; that he feels the same way. but it may also be, in addition to any or indeed all of the above, that aziraphale subconsciously succumbs to the temptation. gripped and bound, with nowhere to go, he surrenders to his fate - the freefall - and allows himself for a moment to sink. but then he steps back out of it, reins himself in, lifts his hands again from crowley, and crowley finally lets go.

crowley lets go, and stands back to see what it might have changed. did he tempt him, did he succeed? will his angel stay? it felt like he will, he felt his hands and how he surrendered - he didn't imagine it - and it might have worked in crowley's favour. it worked with the ox. it worked with the antichrist. there's no reason it wouldn't work this time, right?

until aziraphale steps back. he steps back, places that distance, the chasm, between them again, and looks for all the world that the heavens have caved in, crashing and splintering all around them. a look of utter despair, almost a plea that what happened didn't happen, because it changes everything. it puts what can't happen into the open, makes it more than the abstract. it's longing, and it's sorrow, and it's heartbreak that this could have been what they'd have.

but the fog starts to lift, the shock has settled in, and horror sweeps over; it's disbelief that crowley made that move, and made it in the way he did. it's waking up, coming-to, reality starts to seep back in. it's looking down at the board, and seeing a check on the king, a challenge that aziraphale never saw coming -

- and then it almost becomes fear and panic, backed into a corner, and not necessarily because someone could have seen them, or because crowley has now put something fundamentally physical to what they are (although i believe these could also be contributory to his reaction), but it's the dread of having to refuse and deny what crowley has put out between them, dangling between their fingers waiting to be held.

aziraphale begins to bargain, starts to try reconciling what just happened, and whether anything can be salvaged. he's had a tiny piece of what their future could hold for them, and he has a decision to make. he starts wavering, starts to oscillate between the decision to follow his head and do what he feels is the right thing in the long-term, or arguably betray the person he has become over the millennia, deny himself what he thinks is the right thing, and instead follow his heart; grasp at crowley, and the future he laid out before him.

he looks to crowley for guidance, he's lost, suddenly unanchored in a churning maelstrom. trying to gauge what move he should take - does he surrender the king, or move it to evade the check?

either decision means that the game is up or is only a matter of time before it folds; he either risks their safety by staying, or risks losing crowley by going. there isn't another option, there isn't another way, and aziraphale is teetering between the two. neither are options that he wholeheartedly wants to take. he begins to trying to speak, trying to get out words that are choking him, trapped in the snare of Things Unsaid. words to explain, to placate, to beseech, to plead, and it starts to really hurt.

and what hurts about it the most is that he's about to deny crowley. in the full scene - you can't get it from just the frames - his expression is complete heartbreak. he wants to explain why, even now, when he wants to stay more than anything, he has to choose heaven. why he has to choose to continue evading the check, why he has to continue to fight. and it's the prospect of hurting crowley in the process, of prolonging the pain, that is tearing him apart.

except. except. he's just realised what crowley was doing. it was desperation, and fear for losing aziraphale, and a last ditch attempt to cling to what they have and what they could have. all of these thing, out of love.

but what aziraphale realises is that it was manipulation. it was temptation. this one means something deeper, something darker, because to aziraphale it was calling him to betray who he truly is. and suggests that who he truly is isn't enough.

his gaze flicks up from the floor, and he finally makes full eye contact, staring crowley down. it's disbelief all over again; that crowley would resort to that trick, the trick that crowley knows is aziraphale's personal, heartfelt weakness, and one that he will - and demonstrably always has - succumbed to.

it's the disbelief that crowley would take this power and use it to mold and ply aziraphale into staying, when crowley should know that going - to "make a difference" - is the most aziraphale thing he could do. if crowley loves him, exactly as he is, why would he try to make aziraphale betray that?

the anger, the sense of betrayal, sets in, and spreads like hellfire. it relaxes his face, almost bringing him an eerie serenity. because he's seen that not only does he have to break the check (tirelessly continuing the chess metaphor), but he's going to fight back. he's seen that he can instead take the piece threatening him, and checkmate in kind.

it's the scorched earth option, but one that will demonstrate that he's not one to falter under the eyes of a challenge; he will stand his ground, roots digging into the earth, and will not be moved. he takes a breath, about to move his piece that will end the game. it will make crowley lose, but it was lost already; the game was up as soon as he told aziraphale he understood what aziraphale was offering him. because whilst crowley was talking about a place in heaven, aziraphale was talking about us.

and to aziraphale's mind, crowley was so unwilling to hear him, so ready to reject whatever narrative meant he would have to love aziraphale more than he hated heaven, that crowley would stoop to essentially trying to trick aziraphale into staying. into betraying who he is at his core.

instead, aziraphale steels himself; he knows who he is, and he will be enough. the acceptance of the situation, what it will mean when he 'wins', will do something unspeakable, but it must be done. he has to show his own claws, show how much it hurt. aziraphale takes a breath, even has a small smirk, and places the final piece.

"i forgive you."

[orionsangel86]

The fact that Good Omens S2 was SO QUEER.

Not Just Maggie and Nina (and Lindsey)

Not just Aziraphale and Crowley

Not even just Gabriel and Beelzebub (who is NB)

But the magician shopkeeper and his trans/NB spouse who wore a fancy early 19th century dress to the ball.

Job's son who was flirting with Aziraphale (hilariously played by Ty Tennant giving Michael Sheen heart eyes in front of his dad lmao)

Even the tough macho man in Scotland that Aziraphale borrows the phone from - using it for "Grindr".

Plus of course Michael, Uriel, Muriel, and Dagon also all being non binary/gender queer characters.

With all this, there was no homophobia, no one batted an eyelid at any characters sexualities, sexuality wasn't even brought up, characters just are who they are and like who they like. Its a non issue in the GO universe.

AKA my favourite type of queer representation. The same type found in The Sandman (show not comic).

And whilst there was plenty of drama and not everyone gets a happy queer ending (YET) there was no queer trauma to be seen. No hate crimes, no "bury your gays", no stupid discussions about how HARD it is to be out of the closet in a bigoted world, because the GO world isn't bigoted.

Its SUCH a BREATH OF FRESH AIR.

I know we have similar experiences in The Sandman, In OFMD, and even in WWDITS, but each time a new show takes this very new approach towards queer representation I feel like I'm once again sinking into a comforting hug from someone I love, who loves me back.

Its just really fucking wonderful to see. I hope we keep seeing it more and more often.

[hyperfixating-rn-brb]

The Good Omens Fandom has had a lot of fun recently with the knowledge of Aziraphale and Crowley holding hands on the bus at the end of season 1.

Soo here's everything that went through my head as I learned of it for the first time.

For that entire scene, Aziraphale is really far gone. He's dissociating so hard he can't even realize he's been sitting on a sword. Crowley is probably the only thing keeping him grounded.

They just narrowly stopped Armageddon after a showdown with literally Satan, and still can't let their guard down. For the first time ever, they're completely on their own side. Now they have to orchestrate a body swap to save both of them. They wouldn't just be killed, they'd be completely destroyed. Everything must go exactly according to plan, but how often does that actually happen?

And on top of that, his bookshop, his home, his safe place with the demon he has to pretend not to love is burned and gone.

Crowley is so incredibly gentle and reassuring this entire scene. He's been through so much trauma himself and has spent a lot of his existence shielding the angel from it, hoping to protect some of his innocence and naivete. Crowley is absolutely familiar with every symptom of PTSD and anxiety.

Now he has to see his sweet angel see such a small bit of the horrors of heaven and hell and start to crumble inside. He's going to do his dam best to try and help Aziraphale through it. Speaking softly, ("the bookshop burned down... remember?) slowly and carefully, gradually helping to pull the angel back to reality, reminding him that he's there and will help ground him.

They get on the bus, and sit next to each other. 11 years ago, they sat nearby but separated while Crowley begs Aziraphale to help him prevent the Apocalypse. Now they are sitting together. Both an act of reassurance and unity.

Crowley sits first, Aziraphale could so easily just sit across from him, behind or in front. But he chooses to sit right next to him. And hold his hand. Aziraphale desperately needs to be near to the *former* demon he loves, to hold him, to make sure they won't be separated.

In the book, their famous lines of "none of this would have worked out if you weren't, deep down, just a bit of a good person" and "just enough of a b*stard to be worth liking" came as Satan rose from the earth, as a goodbye in case they were destroyed.

Luckily, that didn't happen and they survived. Armaggedon was stopped. But the angel is still so anxious of losing Crowley. So he chooses to reach out, to anchor himself and reassure himself that Crowley is still there beside him and that they are okay, at least for a few minutes.

And Crowley let him. He knows how badly Aziraphale needs him, he needs the angel just as much. He knows how badly he craved an anchor and support system as he was first abused and traumatized by his Fall, then further by Hell. So he's going to continue being there for Aziraphale, doing everything he can to make his angel feel safe and comfortable.

Over the next few years, Aziraphale would become so much more comfortable reaching out and touching Crowley. Leaning into him, resting a hand on his shoulder or briefly touching his chest. Somehow both reassuring himself that the former demon was still there, and reminding Crowley that he's still there for him at the same time.

Then Crowley becomes more comfortable with the touch, leaning into the angel by himself. No longer flinching at a sudden graze of a hand or reassuring squeeze.

That one moment of the two holding hands on the bus cemented so much of their relationship. "The last few years, not really..." all started on that bus the moment Aziraphale chose to sit down next to Crowley.

edited: at first this said "new knowledge" because I just found out about this all the other day, and wrote this up at 3 AM, and didn't really fact check when this knowledge became well known. I've only really been a GO fan since maybe 2021, and only really started being active in the fandom during the last few months, so a lot of info that is fairly well known is still generally new to me. soo yeah this was edited :)

source for anyone asking for it!

[actual-changeling]

we do not talk enough about the moment right before crowley puts his sunglasses back on. the "nothing lasts forever" is devastating and if you're like me your eyes were so full of tears you couldn't see the screen the first time you watched it (just like crowley, look at us all twinning in sadness!).

there is a shift that happens in his eyes and i think it is absolutely fascinating and heartbreaking at the same time.

we begin with crowley averting his gaze from aziraphale's face and staring off into the distance instead, and you can see his spirit break. that crowley just lost the one thing in the world he cannot live without and we can see it written across his face like a neon sign.

then, as you'd expect, he gives into the need to cover up his pain, to try and make himself less vulnerable, and even before he lifts his glasses he looks down so aziraphale can no longer see his eyes.

now, the next part is what would not let me out of its grasp all day. we know it happens because of his demeanour afterwards and up until the kiss, but you can actually watch as crowley makes himself numb to the world.

i am intimately familiar with dissociation as a trauma and stress response, and while you can never fully control it, you do eventually find the switch in your mind that makes you snap back into the haze. crowley has had six thousand years to get really, really good at leaving reality behind when he needs and/or wants to.

that's exactly what he does.

he still looks sad, and yet there's just something distinctly distant in his eyes, the shift from openly heartbroken to "i don't want to feel any of this let me leave".

glasses? on

emotions? off

hotel? trivago

i have stared at those four frames more than any person probably should and i don't know if it's the light, if i am going insane, or if there is a single tear sliding out of his right (our left) eye. i'm probably insane and the light is a bitch so if anyone has some high resolution shots or anything that could answer that question without a doubt PLEASE do add it.

by now you are probably ready to threaten me with a knife in a dark alley but before you do that or drive your car off a cliff, let me tell you the best part:

aziraphale notices.

they might be communicating on two different frequencies but aziraphale knows crowley. he knows and loves him, and, most importantly, over the last few years he has gotten used to seeing crowley without his glasses. aziraphale could probably write a book on the expressions in his eyes alone and watches that shift happen and is devastated.

look.

he tries to make himself hope the same second, tries to convince himself crowley is putting on his glasses so they can leave together, but he knows.

aziraphale sees the light leave crowley's eyes, sees crowley leave, knowing that he is quite literally running away from him. you and me against the world, angel, but in that moment crowley firmly pushes him back to "the world" (or tries to, anyway).

the entire season we see crowley take off his glasses whenever he enters the bookshop to the point where he's running around without them on in broad daylight with jimbriel right there.

can you imagine how hurt and confused aziraphale must be?

because what crowley is telling him, if we really, really break it down, is that aziraphale is no longer a safe person for him. and repairing that trust is going to take time and work, no matter how much crowley loves him, how badly they love and need each other.

anyway to seal this off and really rub in the pain - how it started vs. how it ended. <3

oh one last thing: now crowley no longer has a single person he can be himself around, no one that knows him, no one he trusts. no one in whose presence he can take his glasses off.

and outside of the bentley and his own flat, he no longer has a place to do so either. the bookshop was theirs. with aziraphale gone, is it really a safe place anymore? is it somewhere he can just let himself be knowing he will be looked after and protected?

easy answer: no.

alright, off i go. see y'all on the next angst post or in the tags.

[mediacircuspod]

This scene was absolutely beautiful BUT it’s also the crux of the issue. You guys this is where the problems start. Because—because Crowley’s already cast out, he finds COMFORT in the idea that they are lonely together. “As far as he can” becoming “as far as they can” is an END to his complete “otherness” and something to appreciate, to covet, and to find solace in. He’s finally not alone.

But—and this is important.

Aziraphale does NOT feel that. He can’t.

This moment is completely and utterly devastating for Zira. He finds out he’s not damned and sure, he’s relieved. But he’s no longer “an Angel” in the way that he’s learned is right. He’s now unchangeably and forever; less holy—a concept that is dearly important to his identity. “[Going] along with heaven as far as he can” is a FAILING on his part. Not heaven’s(at least to him). There is no solace or comfort—he finds existence like that—just the two of them—achingly LONELY. And that’s just how his perspective demands to be taken. It’s the only perspective he is capable of in that moment AND after it, too.

Take into account Crowley has went from having no one AT ALL to having SOMEONE. And he puts EVERYTHING he has into it. This is not good. It’s unfair to Aziraphale. And it’s unfair to himself. On the opposite side, you have Aziraphale. Who has just went from having the ENTIRE HEAVENLY HOST, to having this SINGLE demon— who, one minute ago, Aziraphale thought would be dragging him off to hell.

And the part that aches is that this perspective hasn’t changed. Aziraphale feels like his existence is lacking because he wants so badly to be GOOD. And good is Holy. Good is heavenly. He’s the problem for having morals that are misaligned.

Spoilers for the last episode:

Aziraphale has just been given the validation that he is not only GOOD but the most HEAVENLY Angel there is, the Supreme Archangel, even. And if heavens morals are now HIS morals, then that’s EVERY PROBLEM SOLVED. With a bow even, because Crowley’s basically on heavens side anyway, he’s GOOD, isn’t he? He’s been good this whole time, so why wouldn’t heaven want him back? Reinstating him as Angel would fix everything. They can be together, and they can be good, and they can be HOLY. All Aziraphale’s conflicting emotions about loving Crowley can be packed away because Crowley will be perfect again—and surely Crowley wants to be perfect—wants to be forgiven.(sorry everyone, that hurt me too, oof) Aziraphale is SHOCKED by Crowley’s refusal. He’s devastated that his version of perfect is treated as something naive and distasteful.

Crowley’s devastated too. He’s just lost “their side”. A concept that for 5000+ years has been THE ONLY THING he puts love into besides his car and perhaps his plants(And humanity, but he’ll never admit to that—I’m looking at the “No more dying” scene). Crowley is constantly being devastated by Aziraphale. He’s “too fast”, he’s too evil, he’s too good sometimes. Crowley has always been TOO MUCH. But this is different because for four years, he’s had “them”(on their own side) without the hiding, and without the denial and without Aziraphale constantly putting former jobs between them. PLUS he has a mountain of trauma centered around the concept of “forgiveness”, so that’s not great considering Aziraphale’s last words to him(THAT HE HASNT SAID ALL SEASON EVEN WHEN HE MADE CROWLEY APOLOGIZE IN THE FIRST EPISODE, AHHHHH). He’s losing everything and he’s desperate: Why isn’t he enough, hasn’t he been enough these last 4 years? Hasn’t HE been enough the last 6000?

Aziraphale has always been enough for Crowley. But being enough for Crowley doesn’t fix how Aziraphale has never been enough for himself, not since Job. He looks at this offer as a chance for HIM to be enough, and for Crowley to be FORGIVEN. Crowley looks at it as a betrayal because it’s Aziraphale saying Crowley ISNT enough, and he NEVER has been.

But that’s not what Aziraphale is saying. He’s saying, “Let me fix it for you”. Crowley is hearing, “Let me fix you for it.” Two completely different and completely horrifying concepts.

And then Crowley needs to say HIS piece(oh my gosh, btw, this was heartbreaking).

“Let’s be together on our terms” is basically what I’ve distilled it down to. But Aziraphale hears, “Let’s run away from our problems”

Aziraphale doesn’t want to run away, and Crowley doesn’t want to change who he is.

They both want to be together so badly but they don’t understand why they each want it so differently. And Aziraphale can’t compromise because he’s brainwashed and LOATHES himself. And Crowley can’t compromise because he’s traumatized and LOVES Aziraphale just as he is. Crowley doesn’t want to be good on heavens terms. He can see Heaven for what it is; “toxic”. He hates heaven not only for what the Host did to him, but for HOW THEY TREATED Aziraphale.

They both don’t understand each other because for all the pleading and presenting and monologuing, they never once in that whole conversation, actually talked.

[vroomvroomwee]

Aziraphale's vest

I'd like to take a second and talk about his vest because I think it's a really good metaphor for Aziraphale's internal feelings.

At first glance it's obvious the vest is quite old. Really old in fact if you note the way it's practically disintegrating.

And it got me thinking a bit. The way the white practically bleeds from the edges of the neck, shoulders and buttons, going further and further, one day if he's persistent enough to wear it, it might even take over the entire vest. You could say that that, somehow, mirrors Heavens influence over Aziraphale. Slowly, slowly, biding their time, until it has completely ridden him of any colour. Until it has completely washed him of his identity, of his originality, of his character.

Take a look at his clothing when he's up in Heaven.

Completely and utterly white. Every piece of clothing he's wearing is pure and untarnished white. Upon entering Heaven, against his own accord, it has stripped him of his uniqueness, of anything that might distinguish him from any other angel who blindly follows orders and who's sole purpose is to do Heavens bidding.

Now, he could miracle the white patches on the vest away easily. But he doesn't want to.

The thing is. He likes the imperfect. He likes partaking in human activities and pleasures, like food, music, etc. Likes to indulge himself in earthly things Heaven would label as sinful or "sullying." And as someone who bas been on the receiving end of Heavens ridicule and passive aggression for millenia, as someone who for centuries has been told that he's underperforming and needs to do better, as someone who is all too aware of his own impurity by the standards an angel should hold and of the quite frankly unholy behaviour in performing immoral temptations and directly going against Heavens orders no more than a few times throughout the eras, it's no wonder he finds comfort in the imperfect.

He keeps the deteriorating edges because they are a perfect representation of his own internal feelings and image. After all, there's no rule that says he can't. And a big kudos to the costume department, for the patches perfectly encapsulate his religious trauma. Without it, he would probably be a very different person. He wouldn't be the same Aziraphale we know and love. The same way he likes being old-fashioned with his clothes and how that is a part of who he is, his trauma is a part of him as well, along with Heavens influence that has shaped him into who he is today, whether he likes it or not.

Every part of the vest illustrates Aziraphale's character and internal feelings, which brings me to another point I want to draw attention to, and that is the BACK of the vest.

It's DARK. And I don't think I'm mistaken when I say that most of us didn't expect it to look like that from behind. We all just assumed that it would be the same beige colour as the front, which is in tune with the rest of his attire. After all, seeing him wearing a dozen different outfits all throughout history, all of them some shade of white, it was the logical conclusion.

But no.

It's not white. It's a dark, slightly viridian or a dark blue colour. "Dark blue suggests a more mysterious depth or ominous quality. Power and authority: Dark blue signifies power and responsibility. "

Not what we would have expected that colour at all. Similarly to how one wouldn't expect an angel to perform temptations or be gluttonous, or envious, or slothful, or hedonistic. Not at first glance anyway.

Not unless you look carefully.

Not unless you know him.

The coat almost acts like a cover. The light over the dark. Almost as if it's trying to hide something. The only times we see Aziraphale not wearing the coat is in his bookshop. Which is logical, of course. You wouldn't wear a coat indoors, obviously. Except he DOES. He wears the coat when he and Crowley are drunk, he wears it when he's reading Agnes Nutter, he wears it when Gabriel and Sandalphon pop in, he wears it when he's talking to the Metatron, he wears it when he's listening to Shostakovich, he even wears it at the Ritz where it would be custom to take off your coat while dining. And it's worth noting that during the events happening (at least in the first season), the season is summer. Which would make it quite ridiculous to be wearing so many layers everywhere you go and therefore risk boiling. But he still wears the coat.

The only times he doesn't wear it is in the first episode after the sushi, when he's all ALONE, and in season 2 at the bookshop when Crowley comes back and in 1941.

And there's something oh so personal about that.

I don't think it's a coincidence that the darker part is specifically the back of the vest. There's always been this natural human instinct to protect yourself by never ever turning your back on a foe. And I don't think this is a conscious effort on Aziraphale's part, but rather genius writing, directing and costume design, and anyone who's watched and read Good Omens knows that almost nothing is coincidental.

Note this is probably the first time Aziraphale has called Crowley his friend, seeing how uncertain and doubtful he was to even say the word in this scene and how quick he was to deny their friendship in the Shakespeare scene. And the camera immediately cuts from Crowley to Aziraphale, who is turned away, whose back is turned to Crowley oh so casually without a care in the world. Just before he calls him his friend. His back is turned, and so is the dark part of his vest.

The dark part he only shows in his bookshop, when he's alone and there's no one there. The part that he now only shows to Crowley as well. Crowley who knows him so well and who's been with him through everything. "I won't tell anyone if you won't." And "you said trust me""and you did". Just this small motion of Aziraphale depicts exactly how much trust he has in Crowley not only that he'll keep him safe and protected but to accept him just as he is, to not judge him, to not demean him for his imperfections as an angel. Practically mirroring Crowley's self-protection mechanism that is reflected in his motions to hide his eyes with his sunglasses (there's a wonderful meta on this by @simply-brightly-zee here )

And it might just be clothing, or it might just be genius symbolism, but note how self-aware Aziraphale is of his looks when Gabriel pops up.

The desire to impress is almost unconscious in this scene, and how does he go about doing it? By making sure he looks presentable. Presentable, despite the white patches and the vest that is falling apart, he doesn't even realise it. Therefore, it's clear Aziraphale puts thought into his clothes, whether consciously or unconsciously.

I personally dont think any of this (the coat, the patches, the way he turns his back, when, where and around who he's most comfortable) is a deliberate and intentional act on Aziraphales part but rather creative brilliance from the directors and producers. So him being shown to expose the back of the vest only in scenes with Crowley (and the one in s2 infront of an amnesiac Gabriel with the intelligence and awareness of a squirrel) is a master move on the costume department's part. The symbolusm being so small and imperceptible, but holding so much meaning. This small metaphor shows how much Aziraphale trusts Crowley and how comfortable he is around him. Crowley who knows about Aziraphale's transgressions, sins, unholy behaviours, lack of interest and dedication to his job, and overall "incompetence" as Aziraphale might put it and how he's "just enough of a bastard to be worth knowing". Crowley, who will accept him and love him no matter what. Not despite those things, but because of those things.

They have found their "own side".

Edit: Not that important, but I just want to mention how, despite being tattered and falling apart, the vest is still in perfectly good condition. No matter the white seeping in and draining its colour, the vest doesn't have a single seam torn, not a button lost, perfect as the day it was bought. No matter what it's been put through, it's still kicking, whether by miracle or sheer willpower. Very much like the person wearing it.

[inhonoredglory]

Defining Ineffable Love (or, Aziracrow Learn the Rules of Romance)

(In response to this ask about ineffables and asexuality)

One of the major threads this season was Aziraphale and Crowley asking themselves what exactly is their relationship. Not what it is in terms of how much they love each other. (That's a given.) But what it is in terms of the human implications of their love.

Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms. –David Tennant (source)

For 6000 years, they’ve never put a name on their relationship. They didn’t, because they’re inhuman, genderless, sexless beings and they didn’t grow up (as it were) with labels. And even when they did learn them, they couldn’t say it was love, because admitting that was a death sentence.

All of Aziraphale’s heart eyes and pining could live comfortably in his mind if he never admitted what that said about him as an angel (trauma compartmentalization). Crowley tries desperately to be cruel and nasty to add white noise around the blatant reality of his constant loyalty to Aziraphale. If you don’t put a word to it, it’s not real and they can’t punish you.

After the Not-pocalypse, for all rights and purposes, Aziraphale and Crowley chose humanity as their identity. We see Aziraphale “playing house” in various human roles (as a landlord, a private eye, a magician).

We even see Crowley intentionally taking on human behavior to handle emotional issues: “Just breathe, that’s what humans do.” They’re slowly and intentionally enculturating themselves into the world they want to belong––earth.

Yet it’s setting up Maggie and Nina that makes Aziraphale and Crowley start thinking about their relationship as a human construct.

Because fundamentally, Aziraphale and Crowley are not human. Like Neil Gaiman tells us constantly, they can’t be defined in human terms when it comes to gender and sexuality. They can shift and move through each and any of those markers at will, purely for the pleasure of the thing: “angels are sexless unless they really want to make an effort.”

IMO that makes them originally asexual, in the sense they were created without the need for sex. And it makes them fundamentally transgender and genderfluid, because while on earth, their sexless, eldritch spiritual bodies take on human, gendered forms and clothing. What gender (and sexuality) they identify with while on earth varies through the eras. Crowley definitely has a fluid gender identity, while Aziraphale appears to have settled on gay man (aka THE southern pansy) for his internal typology (although all of these identities are subject to change).

In the midst of all this fluidity, it’s no wonder Aziraphale and Crowley haven’t thought of their relationship in human terms before. There’s just so much different in them and their bodies than what they see in humanity. And there are no books and songs that show the kind of love they have, in the malleable, sexless bodies they have, with the background they have; it’s all ineffable.

Aziraphale and Crowley didn’t start out thinking they were in a romantic relationship. Whatever feelings they had were long repressed, redefined, and shuttled away. But they did love each other, without question. And it was that love which scared them, because it was bigger than anything they saw among humans, a love that was beautiful and blasphemous and unfathomable.

Kinda like what David Duchovny said about Mulder and Scully in The X-Files, “I don’t know if they’re in love. In a way, their relationship is deeper than that, because they cannot live without each other.”

Now take this profound, ineffable love and drop it into the little boxes and labels human culture has created for itself.

Full disclosure: I’m an asexual demiromantic person in a queerplatonic relationship, so I’ve done a fair bit of research on what romance is and how the rituals of romance are, in many ways, social inventions that vary from culture to culture. There’s love and then there’s romance, and they don’t always overlap. So my interpretation of Aziraphale and Crowley comes through this lens and the fact that Neil Gaiman has affirmed the validity of an ace-spec reading on our ineffables.

Which brings me back to my thesis: That only now are Aziraphale and Crowley thinking of themselves as a romantic couple, precisely because they are interfacing with humans and taking on their social rules.

I like this one asexual person’s description of their experience, which feels very much like our ineffables (from a very good article, I def recommend):

If there is a border between friendship and romance, then in my internal landscape, it goes right through a misty forest where no one has ever bothered to place signs.... Neither of us had intended to start anything even vaguely romantic, but the activities we did and the intense kind of immediate connection we had was coded as romantic in our culture.

That’s what Crowley realizes when Nina confronts him about his relationship to Aziraphale.

“It looks like that from here.” What Crowley and Aziraphale share is beyond definition, but Nina cannot imagine the anything beyond the human labels she was taught. The tragedy of an everlasting love is that it can only be conveyed properly to other humans if it is cast in such small human words––partner, boyfriend, husband.

Because when Crowley denied those human roles for Aziraphale, Nina slid down the path of thinking Aziraphale was just his “bit on the side,” because there were no labels left she could imagine for them. If you don’t put a word to it, it’s not real.

That’s the purpose of labels, to culturally validate a person's identity. Labels, of course, DO NOT create reality; people's experiences are always real, in all their varied ineffability. But labels allow a space for culture (ie other humans and political and legal society) to recognize formally your lived reality.

So Crowley started really thinking about him and Aziraphale, about the ineffable love between them and realized that in human terms, those would be the things he’d call Aziraphale, because those were the words that gave Aziraphale that place of importance in his life.

But with that realization comes all the human trappings and behavioral patterns around those words (the candlelit dinners, dramatic rescues, drinks at the Ritz, etc.) which Crowley had never thought of before, and yet… maybe romance is what he and Aziraphale have been doing all along.

That’s why this season centered so much around Aziraphale and Crowley using cultural artifacts (film and literature) to understand romance, because romance is so deeply socially-defined.

Aziraphale himself has been leaning hard into the romantic social cues (he’s more well-read in the cultural trappings of romance than Crowley is), especially post-Blitz. But when he watches Maggie and Nina dancing, he works up the courage to do something with Crowley that’s even more explicitly loaded as “traditionally romantic” than anything he’s done up to that point.

Because while risking their lives for each other and defying everything for each other is love in its purest form, dancing (specifically in Jane Austen’s world) is a public performance coded for potential marriage partners. It's an intimate ritual of the entire body. (And in British slang, dancing has been used as a euphemism for sex.)

Crowley's "We don't dance" is really telling, because it shows Crowley’s awareness of the unknowable devotion between them vs the human roles Aziraphale is asking him to fill, specifically its physical aspects. Aziraphale is asking to make their relationship more public, more physically explicit, more coded as romantic in a setting specifically intended to couple individuals.

While Maggie and Nina inspired Aziraphale to progress their relationship into a publicly physical direction, Maggie and Nina inspired Crowley to think of the emotional implications of their human roles: the commitment, security, and monogamy of a husband, a partner, an us.

That’s what he decides after Maggie and Nina confront him in the end. “You never say what you’re really thinking.” He wants to codify his relationship so they each become responsible to one another. Aziraphale has always been his soulmate, the one he could always rely on. But he wants to place a word and a role to their love that will bring with it Aziraphale’s commitment and dedication to him.

And that's another reason why Crowley kisses Aziraphale, because he knows Aziraphale was willing to make their relationship physical, and he wants that, too. To consummate this bond in the way humans do.

But Crowley doesn’t really know how to kiss; he’s not as worldly as he makes out to be. (It’s Aziraphale who owns the gun, and Crowley who’s never fired one.) He uses the kiss as a tool to get across to Aziraphale what he wants for them, in the physical language Aziraphale has been using, because "one fabulous kiss and we're good," right?

But it doesn’t work, because real life and real emotions don’t work like that; life and love don’t follow a script, despite the novels and plays and songs.

Aziraphale and Crowley spent this entire season trying to figure out what their relationship is and what they wanted out of it, trying to make sense of the unfathomable thing they share and the human implications of it, and not quite landing on the same page.

Part 2 of this Analysis, covering a correction in Crowley’s statement (“You don’t dance”) and the further implications of dancing/sex.

[vidavalor]

Crowley and Plosives

@kimberleyjean asked in my recent post on rings and apostrophes why it is that I think Crowley pops the consonants of words at times, as in "BooK. shoP", and if there is a technical term for what he is doing. There is.

Let's talk about Crowley's exaggerated plosive sounds--as well as his little "mmm" thing-- and what this all probably has to do with his hiss.

In order to talk about why it likely is that Crowley pops specific consonants when he speaks-- with it being more pronounced at certain times than at other times-- we first actually have to talk about his hiss.

Crowley's hiss is less of a separate sound and more of a slur of what's known as a sibilant sound in phonology-- it's the sound of the letter s or the letters sh. If you say the word "sash" aloud, you're using sibilant sounds twice over-- once at the start and once at the end of the word. While Crowley could probably just hiss like a snake when he's in human form, we never actually hear him do that. We hear a hissing sound manifest in his sibilant sound when he is speaking-- which is to say when he's being a human over a snake. The same is true of Lord Beezlebub, whose fly buzz sound affects their speech. In their case, their sibilant sounds turn into the letter z to mimic a fly (as in, "It izzzzz written" on the tarmac in Tadfield in S1).

Sibilant sounds are part of a group of sounds known as fricatives, which are all softer in sound. They are grouped together based on how your mouth and throat move in forming the sounds and how much air is needed to move through them and in what way to say them. The letters k, p, t-- and sometimes d, b and g, depending on the word and the position of the letter in the word-- are "hard" sounds and are known as plosives. These are the sounds that Crowley tends to pop or to which he gives exaggerated emphasis in his speech. My theory as to why is basically that David Tennant decided that Crowley would feel the hiss is weak and react to it by popping his plosives to seem more intimidating, which really does go along with Crowley's psychology well.

Crowley's hiss is a feature of what of him is a snake and, as a result, will show up in the times that a snake would hiss. That means the slurred sibilant sounds show up primarily in situations in which he feels a sense of vulnerability. Snakes hiss when they're stressed or under duress and they hiss if you try to interact with them while they are digesting a big meal. In demon snake terms lol, it means Crowley is most likely to hiss in exactly the moment he does not want to (when he's anxious or afraid, which is usually when around other demons or angels). He probably cares a bit less about slurring sibilant sounds around Aziraphale after a big meal--or a "big meal"-- and Aziraphale actually probably likes it a bit as it's his life goal to keep that snake blissssssed out but the hissing around other people thing?

Crowley hates it. He haaaaaaates it. There is evidence of Crowley hating the slurred sibilants in a few scenes.

One is that when he shapeshifts into a monstrous snake to scare the guy at Tadfield Manor in S1, Crowley doesn't hiss at him-- he roars. Like a lion. (Lions are also on the arms and legs of his reason-for-therapy-alone throne chair in S1.) And this is his reaction when he makes the guy faint from fright:

He loves it. Ah, control...

Because Crowley is a lot of things, really-- he's a snake, yeah, but he's a big cat, he's a crow, he's a nightingale, he's a black swan, he's a horse... we could go on. To control the hiss when he wants to is to feel in control of himself.

We all know how much Crowley seeks as maximum control over how he's perceived by others as he's capable of generating. It's a normal response to all the trauma he's suffered. It's probably worth considering as well that Satan's attacks on Crowley render him incapable of controlling his own mind and body for the duration of the assault. He doesn't have the option to speak or, if he does, the words aren't his own. These are bodily autonomy violation issues and the result is that Crowley hates anything that makes him feel weak and the fact that he has in the hiss what amounts to a nervous tic that is a symptom of his anxiety disorder makes him feel out of control of himself.

Another example of him hating the hiss is when he intentionally slurs the sibilant s sound while mocking Heaven:

Crowley is not just talking about composers in this scene in general but using first-class composers as innuendo for sexual partners and mocking Aziraphale's potential choices if he gets stuck in Heaven for all of eternity. He does so by combining soft fricatives and his slurred sibilant hiss, showing how he equates the hiss with a sense of what he considers weak and unattractive.

The other scene that suggests this-- and shows how Crowley pops his plosives as a counter to the hiss-- is actually the end of the apology dance, when Crowley pops a t so hard, it's almost its own word: "You were righTTTTTT."

The apology dance scene and its hard T as the final note of the mock-submissive dance also makes it clear that, unsurprisingly, Aziraphale knows what the popped plosives are all about. Plosives are, well, explosive. They have harder, louder, more dramatic sounds. It seems like Crowley pops them both as a measure to counter his hiss and as a measure to try to control it. He's taught himself to respond verbally with intensive plosive popping instead of hissing, which is also why we don't actually hear him hiss all that often.

One of the only times is almost immediately after this:

Because saints and demons preserve us, it's Master Crowley, right? But then Satanic Nun!Nina interrupts them and Crowley starts slurring his sibilant sounds in sarcastic response to Aziraphale telling him that he didn't need to put the woman in a trance.

"Oh, oh, 'xcccussse me, ma'am, we're two supernatural entities looking for the notorioussss SSSSSon of SSSSSatan. Wonder if you might help us with our inquiries?'" How he controls the sentence, though, is really interesting. The extra-exaggerated sarcasm of the last sentence helps him regain control enough that the final 's' in 'inquiries' isn't hissed and he's back in control of it. He's also almost amping up the sibilant sounds he does slur sarcastically as well. Part of why it comes out here is that he allows himself to be less guarded with his speech in front of Aziraphale.

We've actually only heard him hiss his sibilant sounds about three times, if memory serves me correctly, and two of them are related to Heaven and Hell-- the two moments I mentioned above. They're examples of him trying to control-- and then sarcastically wield-- the hiss. (Particularly "celestial harmonies", which he did entirely intentionally.)

There's also one more positive instance of a sibilant slur though and that's this: "Yessssss, the 'Reign of Terror.'"

The long hiss of a "yesssss" in this scene is not one that bothers him because drawing out a sibilant sound during a sexy conversation with Aziraphale is a very different situation than one about or involving Heaven or Hell.

If you look back on the series, there are probably no more popped plosives than in Crowley trying to ascertain just wtf Gabriel is doing in the bookshop wearing nothing but their tartan bedsheet.

"WHaT. Arrre. You. DO. ING. In. THis. BooK. ShhhOP?" 😂

Crowley was literally terrified (and also losing it internally because he just jumped and basically screamed at the sight of Gabriel) and there's a very brief "shhhh" in "bookshop" that starts to slur and has him practically shouting the "OP" to finish the word without full-on hissing. It's a scene built around the plosives, really.

Gabriel probably understands Crowley's manner of speaking more than "Jim" did in this moment as Gabriel has his own affected way of speaking. His defensive speech has the same need for a sense of maintaining an appearance of control and dominance but is usually less about emphasizing plosives and more about conveying a sense of power through a perceived sense of "manliness" in a smug, corporate sort of way. The way he says "but as The Almighty likes to say: 'Climb Every Mountain'" in that 'CEO saying the bullshit company slogan to a junior employee at the company retreat' sort of way.

Gabriel usually uses intimidation through lower, more frighteningly measured tones that carry the sense that if you pissed him off, he would explode and it would not be pretty for you. It's what makes the moment when he does actually a bit shocking and that's when you hear the force come out in his speech a bit.

He pops plosives in the curse and owns the 'fucking' in that sentence as a result. That is top shelf use of a curse word, in that it's selective enough and pronounced in such a way as to give it real power. You know he's going to lose this round because he can't win it but you're still kind of afraid of him-- maybe for the first time.

But Jim? Jim has none of this.

Jim is a guileless lovebug who doesn't understand why Crowley would feel the need to speak-shout at him and pause dramatically so his "I. AM. DUSTING." response is priceless. Jim over-emphasizes all of the sounds because he doesn't know why Crowley only emphasizes the plosives and he pauses dramatically between the words more out of confused repetition of Crowley's speech pattern to try to relate to Crowley than out of understanding that it was meant to intimidate him. He uses the same sense of theatre that Crowley uses without any context as to why Crowley feels like he has to and, as a result, it guts Crowley's whole attempt to intimidate him to compensate for his own feelings of vulnerability.

Crowley and Aziraphale both are fascinated by words and the evolution of language and they speak every language in the world. This means that they both have the ability, in theory, to correctly speak in any accent in the world, which is necessary to be able to pronounce the words in every language. Between that and his self-conscious, trauma-adjacent, plosive/fricative issues, as well as just being interested in how things like pronunciation informs the evolution of language, Crowley is more aware than most of how he sounds when he speaks.

But there's also that his unique way of speaking-- when combined with his low, rumbly voice-- can be very sexy and he's aware of it, namely because it's clear that Aziraphale thinks his sounds-- all his sounds, along the full spectrum of them-- are hot. As a result, we also have scenes in the series wherein Crowley will sometimes heavily emphasize plosives-- and fricatives-- around Aziraphale just for fun because to do so has become a part of how he speaks and because the angel likes it. An example: the "lotsss of GooD DeeDsssss" bit of this:

That Aziraphale likes the full range of Crowley sounds is symbolic of the fact that Aziraphale likes the full range of Crowley, full stop. As a result, Crowley plays around with how he enunciates words, often drawing out parts of them in ways he knows Aziraphale will enjoy. His "oo" and "ou" sounds are often elongated into an "oooh"; he softens fricatives to a breath at times when speaking more gently. At other times, he amps up his RP accent and emphasizes certain words in a sentence with pauses and heavier enunciation ("canopy", "astonish") to maximize their appeal and to draw Aziraphale's attention to them, usually also for wordplay-related reasons ("did you smite them with your wrath?" in Lockdown, for example.)

Then, there is that part of their language thing also appears to be an interest in onomatopoeia, which are words that have derived in language not from a connection to other, previously-existing words but from the sounds of Earth. Crowley, in particular, loves onomatopoeia, and likes to weave words that are that into his conversation-- "frou frou", "whoop", etc.. The word "hiss" is onomatopoeia. Unlike other etymology posts I have written or will write, there is no "derived from the Old French x" or "from the Latin x" or the like for the history of "hiss"-- it's just literally that people heard a snake hissing and said that sounds like "hssss" and so we're going to call it a "hiss."

While Crowley has issues with his anxious snake hiss, though, he actively likes to make the pleasurable sound the humans (and angels and demons) can make-- the ultimate in onomatopoeia. The word that is actually more his anti-hiss than his popped plosives:

"Mmm."

"Mmm" is derived from nothing more than the human sound of contentment. It's an often almost involuntarily hum of pleasure-- the human sound of satiation. There is no other history to the word but that and there has not been since beings began to exist.

Crowley makes the sound unconsciously but he also makes it consciously at times when speaking with Aziraphale because he knows Aziraphale likes the sound of it. Case in point: the very obviously intentional "mmm" in the Edinburgh phone call (and the heavy, exaggerated plosives emphasis on what followed it):

"Mmm" is also something of an etymology joke as well because, at last count, I think I had at least twenty-five instances in a note file here about intentional wordplay between Crowley and Aziraphale that focuses on frequently confused words and phrases (to founder vs. to flounder; whoop vs. whoomp; wittering vs. withering; to get a wriggle on vs. to get a wiggle on, etc..) which I bring up mainly because, especially when written, "mmm" is frequently confused with "hmm", and the etymology of "hmm" is pretty funny from a Good Omens perspective.

While "mmm" is a sound of pleasure, "hmm" is a sound made of consideration, a kind of pause in a sentence to acknowledge something that was spoken and to either suggest you're giving it thought or to show hesitation over what was said-- or, possibly, both. While "mmm" is a contented sound derived from the human body, "hmm" is onomatopoeia because it is imitative of a different, very specific sound in nature...

...it comes from the droning sound of buzzing bees.

To Crowley and Aziraphale, "hmm"-- the sound of hesitation and reflective contemplation-- is a sound of the insects that are symbolically the angels and that's amusing to them since the humans frequently swap it out with their signature sound of pleasure while Crowley and Aziraphale do not find much about Heaven very arousing.

Crowley's new favorite hobby in S2 is making dirty jokes that are going over Muriel's head-- some of which, like his handcuff innuendo while getting Muriel to take him to (literal) Heaven, are a bit on the surface. Others, though, like the frequently confused words wordplay of using "mmm" in protest of Heaven instead of "hmm" in the "mmm, bees" moment after successfully getting one over on the angels-- are examples of just wordplay jokes that Aziraphale would have found funny that Crowley was amusing himself with in the moment.

Crowley is definitely not the only one of the two of them amping up those mmms though. The only bee who has his attention is playing right back...

...and the mmm thing is not exactly new, either...

...like for him to mmm his way through an entire barbecued ox five minutes after this...

Original post that prompted this response:

[averywiseanimatedcat]

I’ve seen lots of interpretations of Aziraphales line at the end of S2

“I forgive you.”

And I just clicked as to what I think it actually meant…

Aziraphale meant that he forgives Crowley for choosing to stay locked in his bitterness and anger instead of choosing to let it go so they can be together.

And we know this isn’t true, but Crowley hides things. Crowley didn’t even tell Aziraphale he was living in his car, so he definitely has not opened up about his fall. So Aziraphale thinks that all Crowley feels about Heaven is angry. He doesn’t see the mile deep iceberg of pain and trauma bellow it because Crowley has built up this unbothered, confident, smooth talking persona as an enormous wall to hide it from everyone.

So Aziraphale thinks Crowley is rejecting him in favour of staying angry and bitter. He believes Crowleys hatred for Heaven is stronger than his love for Aziraphale. Just like Crowley thinks Aziraphale is rejecting him in favour of Heaven and that Aziraphale loves heaven more than him.

Aziraphale is saying I forgive you for choosing to live in bitterness instead of coming with me to do something good with what happened you. He says it because he doesn’t fully understand the gravity of what he’s asking of Crowley because Crowley has not told him.

[asexualenjolras]

I've finished watching season two, and I have some thoughts I needed to just get out. Neil Gaiman is a very talented writer, and the way he writes the Ineffable Husbands' relationship is so authentic and beautiful.

Aziraphale and Crowley's relationship is so much more complex than having them end up happy so soon after Crowley admitted his feelings for his angel. They've spent 6,000 years, as Nina and Maggie put it, not talking to one another about how they feel. It isn't unimaginable that Aziraphale would struggle with his feelings when Crowley finally admits how he feels.

Of the two of them, Crowley is more settled in his freedom. He has no ties to Hell, or Heaven, or Earth. He knows that he would be happy living away from all of that with Aziraphale. It's what he's wanted for a while, and he's content with the idea. We've now seen him ask Aziraphale to run away with him twice (once in season one, and once in season two). He's perfectly happy with that idea. And him telling Aziraphale that at the end of season two was such character development compared to him just screaming at his angel in the first season.

Overall, Crowley knows he loves Aziraphale more than Earth, or Hell, or Heaven and Maggie and Nina help him reach that conclusion by the end of the season. Nothing matters more to Crowley than Aziraphale. And we have seen him threaten to throw everything away for him twice now. He wants Aziraphale and Crowley is contented with the idea of it being the two of them for the rest of time.

However, Aziraphale has never wanted solitude. He's never once said that that's something he wants. Aziraphale's wants and needs are in constant battle with one another, and what he wants is ... to be good. His morals are objective, and he is burdened by his constant need to be good and to be fair - even if it means being unfair to himself. He's prone to self-sabotage. And he will forever put other people and beings before himself.

Aziraphale, like Crowley, knows that he is bound to Crowley for eternity. They are soulmates. 6,000 years of finding one another is evidence of that. But Aziraphale's trauma is so deep-rooted. It is engrained in him that he needs to be good. He believes it's integral to his being. He's spent 6,000 years doing his absolute best to impress Heaven and God, and his morals aren't going to change just because Crowley admits his feelings for him. He is, at the heart and soul, good. And he can't move past his morals and put himself first because that would be ... out of character. He's conflicted. But the one thing he is is ... good.

Aziraphale wanted Crowley with him just as much as Crowley wanted him. But he just wanted to try and balance Heaven and Crowley. He wanted Crowley to be an angel with him, and be happy and work together as they always had. He didn't want anything to change (he's so autistic). When Crowley told him that he didn't want to stay in Heaven, Aziraphale was confused and hurt. You could see it in his face.

And, integrally, he could have demanded that Crowley come with him, he could have been selfish for the first time in his life, but he wasn't ... and he couldn't ever be. He let Crowley go. Because he thought that was what was best for him. He put Crowley first and pushed his own wants and needs aside. Crowley told him he didn't want to go, so he let him walk out.

Importantly, we see him doubt. He stops for a split second and considers going with Crowley when he sees that Crowley has waited for him on the other side of the road (Crowley didn't go ... too fast this time, he stayed put and didn't run away - he waited for Aziraphale - but don't get me started because I will cry).

Overall, just as we've seen Crowley's want to run away with Aziraphale before, we've seen Aziraphale turn down that offer in place of doing the right thing (or, what Aziraphale feels is the right thing). This isn't new. And they will get through it. They just have a bad time communicating with one another.

One thing is certain, though: they are soulmates. And they will find their way to one another again. They have done for the past 6,000 years. It's ineffable. They are ineffable.

Neil's a genius. And the mirroring between their relationship in the two seasons is so well-written, and complex and I have so much admiration for it.

Anyways, that's all I can muster in thought. I'm off to cry because angst makes me sob. And I'm heartbroken. I'm so hopeful for a season three. I need to see this angel and ... Crowley again.

[flowersintheimpala69]

Not to be a hater but I can not STAND when people give characters internalized homophobia for plot or whatever especially when it’s so ooc.

Like Will does NOT care that he’s in love with Hannibal (a man) I think he’s actually more preoccupied with the CANNIBAL thing.

Crowley and Aziraphale are literally billion years old genderless beings. I’m sure they do not care or worry about them being queer. In fact the demon vs angel thing is DEFINITELY more pressing.

Also with destiel I can see Dean having internalized issues cuz toxic masculinity and all that but cas would not care. He’s an angel. He transcends gender. He doesn’t have a strict option of sexuality.

Newtmas too. Like. They sorta have more pressing issues yall.

Satosugu as well. Like I GUESS it’s plausible cuz it’s Japan and like they were in school in the 2000s but also like. There are so much more interesting things to write for them that internalized homophobia is like. Eh.

Okay sorry ranting but I keep seeing “why not?… I wish u were a girl” videos on TikTok with characters who would NOT gaf and I feel like there are better ways to add angst that aren’t like. Queer trauma porn.

[fellthemarvelous]

Aziraphale hate makes my brain hurt.

Like let's be really fuckin' for real here.

Neurodivergent fans have repeatedly said that Aziraphale is autistic coded. I agree with them. I have never been diagnosed but I wonder about myself. If only I could get a doctor to take me seriously enough to test me for it, but alas, I'm a 43-year-old woman living in the good ole US of A.

Those with religious trauma have repeatedly said that they identify with him as well. I'm one of those people. I endured 12 years of Catholic schools and just as much time being taught a very black and white view of things that I've had to spend more than 20 goddamn fucking years working to unlearn.

I find that my views as a survivor of religious abuse are often dismissed because people keep wanting to say "Aziraphale doesn't have religious trauma." Yes, thank you, I get that, but unless you've been indoctrinated and brainwashed into a very black and white view of the world, you probably don't understand the kind of feelings Aziraphale's onscreen experiences evoke in so many of us. Heaven might not be real, but the feelings of "God is always watching" still stick with me today even though I no longer believe in God. I have entirely denounced Christianity because of my own personal experience, and I refuse to allow people to try and guilt me or shame me for trauma that I didn't ask for. I wasn't given a choice.

As a child I was told that God was real and always watching everything you do (just like Santa Claus) and can hear everything you say and knows everything you are thinking. Do you know what I learned to do in order to cope with this overwhelming and anxiety-inducing information as a small child? I learned to censor my thoughts. I never spoke up, and I have always felt like I was putting on a show for people because I had to be who I was told to be or I would get into trouble.

Aziraphale said "poverty is a virtue" during The Resurrectionists, and as someone who grew up in the Bible belt and went to private schools, I was taught this very same shit by the Catholic church. He learned in that very same episode that "poverty is a virtue" is actually a tool of oppression to keep the poor poor and the wealthy wealthy. I know we all watched the episode. He went into that episode believing what he said, but by the end of it he knew it was actually utter bullshit. Aziraphale is not ignorant. He's highly intelligent, and he has never been too proud to admit when he has been wrong. He accepts that the information he learned before is not matching up with reality.

And it's so obvious some of you have zero experience with that type of indoctrination because of how very little empathy you show Aziraphale for his "mistake" of "choosing Heaven over Crowley" and "making Crowley sad" so clearly Aziraphale must somehow be "abusive" and "manipulative" and "selfish" and "self-centered" because he didn't choose to run away with Crowley at the end of season two.

First of all.

FIRST OF ALL...

Aziraphale has a mind of his own.

Aziraphale is always going to try and do what is right.

Aziraphale is an angel. He's a being of love. And the reason he's so "bad" at being an angel is because he actually wants to protect humanity. He has always loved humanity. He repeatedly has to contend with what is "right" versus what is "good" and "wrong" versus "evil". Yeah, he has flaws. He's an angel, not a goddamn fucking saint. He has lived on Earth for more than 6,000 years. He has seen everything. He loves doing human things.

He's obsessed with magic. It makes him so happy. He's not very good at it...well not when he's trying to put on a show for Crowley.

He chose to learn French the hard way, so even though he knows every single language in the world, he chooses to be mediocre at French. Something that annoys and amuses Crowley at the same time.

He loves to dance even though angels aren't supposed to dance, and dancing with Crowley was what he wanted the most.

He owns a bookshop and refuses to sell any of his books because they are books he's had for as long as there have been books. He will chase customers away from his collection, and Crowley understands how much they mean to Aziraphale because he refuses to sell any when Aziraphale leaves him in charge.

He and Crowley have been speaking to each other in coded language for more than 6,000 years. They have to be very careful about what they say because Heaven and Hell are always watching.

Heaven has photographs of Crowley and Aziraphale sitting or standing together throughout history. Hell had one photo of Crowley and Aziraphale actually working together and it was Aziraphale's quick thinking and how good he actually is at sleight of hand tricks that managed to get that photo out of Furfur's hands so he wouldn't be able to turn Crowley over to the Dark Council.

Aziraphale saved Crowley from being taken to Hell again. He wasn't able to save Crowley from Hell in Edinburgh, but he sure as heck managed to save Crowley from Hell during WWII. He took Crowley to his bookshop and showed Crowley that he stole the picture from Furfur. He saved Crowley.

You get that, right?

Aziraphale SAVED Crowley.

People always talk about how it's "always Crowley saving Aziraphale" because apparently heroic acts are only heroic when they are grand gestures. The sleight of hand wasn't heroic at all, am I right? It wasn't sparkly and showy. It wasn't interesting enough, therefore not heroic. At least that's all I'm hearing when people start with their "blah Aziraphale deserves to suffer because I have no imagination or ability to understand the media in front of me blah", and all these reasons he deserves to suffer is because Crowley almost got hurt.

Aziraphale did that without flinching and I watch that part closely every single time. He's not scared for himself. He's scared for Crowley, and he managed to hold onto that photograph. He did not fail Crowley. He protected Crowley.

And so here's another thing that we like to point out. The way that Aziraphale, an angel who is effeminate and male presenting, an angel who is soft and full of love, an angel who is kind and forgiving because he has empathy and compassion, is somehow painted as abusive and manipulative. He's not violent, but he could easily fuck up your world. He doesn't use his powers. We have no idea how powerful he is because we only ever see him do small acts. He's used to hiding. It's the only way he has ever been able to protect Crowley.

And I'm not saying that Aziraphale has actually saved Crowley before means that Crowley hasn't also saved Aziraphale. Like, you get that those are not mutually exclusive and their relationship is not transactional, right? They have spent their entire existence protecting each other but never actually getting to be together because Heaven and Hell are always watching.

Yeah, Crowley fell. We all know this. We are aware of this. He was the serpent of Eden. He gave humanity the knowledge of free will.

But what we don't talk about is what Aziraphale gave humanity.

What did he give them?

We all know what it is!

Let's say it together!

He gave Adam and Eve his flaming sword because it was dangerous outside the garden and Eve was pregnant and she was already having a really bad day. He showed them compassion and gave them his extremely powerful angelic weapon so they would stand a chance on the outside of the garden. He gave humanity the gift of compassion. It's just unfortunate that his flaming sword became a weapon of War.

And then what did he do after that?

Ooooh, yeah, that's right.

God asked him about it and he straight up lied to her and pretended he had no idea where he'd managed to misplace it. She didn't say anything after that. He told Crowley the truth though. He told Crowley the truth even though Crowley fell.

Yeah, we know Aziraphale has done some really fucking questionable things. He and Crowley both suck at passing for human in front of observant people like Nina. They're not human. They are still learning, but they managed to experience human history together despite being on opposite sides and their experiences with humanity are what has shaped them into the compassionate and loving duo they are now. One of them is not better from the other.

This, my friends, is what we call meeting in the middle. It's why shades of gray is so important. Aziraphale constantly breaks the rules. Crowley refused to play by Heaven's rules. It's the reason he fell. He doesn't play by Hell's rules either. These two dorks figured out how to cancel each others' miracles out throughout human history in order to have more time learning about humanity and each other because working all day every day sucks when there are so many new things to learn and experience with the people you love.

We know Crowley and Aziraphale both love each other. Neither of them are good at hiding the hearts stars in their eyes.

But here's what's really fucking annoying about the Aziraphale hate.

Aziraphale was already crying when Crowley grabbed him and kissed him. Aziraphale is trying so very hard to do the right thing. He loves Crowley. He does. But he also has a duty to humanity, and he has taken that job very seriously since the creation of Adam and Eve. He sent them out into the world with a flaming sword so they would have a chance at surviving beyond the walls of the garden.

And he knows that Something Terrible is going to happen and he spent all of second season trying to figure out what that Something Terrible was while trying to have some sort of more honest and open relationship with Crowley, but again, they aren't human, they are a demon and an angel approaching life from opposite sides who met in the middle and fell in love with humanity together.

He wants more than anything to tell Crowley how he feels about him, but he wants to do something grand for Crowley because Crowley has always been grand and dramatic and sexy and a little bit scary.

Crowley is impulsive and has a temper and sometimes says the wrong thing but he has always trusted Aziraphale because Aziraphale gave him a chance even after he fell. Aziraphale chose to shelter him instead of smiting him while they stood on top of that wall. He knew he was supposed to kill Crowley, but oops, he gave his sword away to the humans so he didn't really have anything to kill him with and Crowley is the one who created nebulas. The Pillars of Creation is Crowley's work and Aziraphale was there to witness that, but he watched Crowley more than he watched the nebula. He witnessed the pure joy on Crowley's face when he said "let there be light" as a nebula full of colors exploded before their eyes. He was fascinated by Crowley.

But Aziraphale is going back to Heaven even though he has made it perfectly clear he absolutely has no desire to go back to Heaven. He told the Metatron this during their conversation. He spoke these words out loud. They exist.

But then The Metatron said this....

The Metatron. The very same angel who told Aziraphale in season one "to speak to me is to speak to the Almighty." He's the boss. He's the big guy. He's used to existing as a giant head and he had to give himself a body so he wouldn't stand out on Earth. And he knows that Aziraphale and Crowley have been working together since the beginning. He knows they worked together to prevent Armageddon in season one, and now he's made it clear he knows they were working together long before that. And let's face it, Aziraphale really wants to know what this Something Terrible is that Gabriel is running from so he can try to prevent it from happening.

It makes sense that he would want to take Crowley to Heaven with him because he would be able to keep Hell from getting their hands on him again. Aziraphale hates it in Heaven. He doesn't want to go, but Something Terrible is happening and Metatron isn't taking no for an answer, and maybe Heaven won't be so bad if Crowley is there with him. At least they can fix Heaven together.

But Crowley can't go back. We all get that. We don't blame him for saying no. It doesn't change anything.

Something Terrible is about to happen and Aziraphale has to figure out what it is. He wants to change Heaven.

He is fully aware that Heaven sucks. He still has faith in God. His faith isn't in Heaven. He deserted his platoon in season one and threw himself back to Earth so he could figure out how to make sure the war between Heaven and Hell doesn't happen.

But see, here's the thing. Heaven is at the top. Heaven has all the resources. Heaven is responsible for the creation of Hell. Heaven is empty and Hell is overpopulated. Aziraphale knows this. Crowley knows this. It's obvious every time we see either place. Both sides are desperate to go to war and will not hesitate to destroy humanity in the process. This is the opposite of what Crowley and Aziraphale want for humanity. If anyone can change Heaven, it's Aziraphale. He's the only one up there who gives a shit about humanity as far as we know. No one else is going to speak on humanity's behalf.

Some of us are so busy getting mad at Aziraphale for going back to Heaven and giving Crowley a Big Sad. Newsflash: Crowley is not the main character of Good Omens. Aziraphale and Crowley are equals, yet we wanna hold Aziraphale to higher standards because he's an angel, and when he makes mistakes it's proof that he's the bad guy.

Holy mother of all things that trigger my religious trauma, let me tell you. I spent my entire life hating myself every time I made mistakes. I've had to teach myself that just because I mess up sometimes doesn't mean I'm bad. It means I'm human. I still struggle with it. I probably always will. So when you say that Aziraphale deserves to be punished for breaking Crowley's heart, you not only ignore that Aziraphale's heart is also broken, you're saying he deserves to be punished for doing what he thinks is right.

Wanting to change Heaven for the better is not a bad thing.

And some of y'all wanna see him suffer for going back into the lion's den that is Heaven, knowing that he is already an outcast, that they have already tried to kill him once, knowing that he is a deserter, that he has been lying to Heaven about a lot of things, and you still think he's blinded by Heaven? You think he's just so naive and that's the only reason he's going back. He doesn't show his emotions the same way Crowley does so it means he doesn't care as much. He's expected to consider Crowley's feelings over his own when making choices. Like holy shit if all of that hasn't defined my experience as a woman with religious trauma in this fucking society. He's expected to be subservient to Crowley and if he doesn't do what Crowley wants then he's being unreasonable and illogical.

What the actual fuck, y'all.

Like seriously.

I'm sick of this bullshit. I had to step away from this fandom because of how toxic some people in this fandom are. It's not chasing me away, but the fact that I chose to hang out in a a more toxic fandom that is already notorious for being really toxic over a fandom that claims to be more open-minded and welcoming should probably tell you something.

It gave me a lot of perspective, and yeah, I'm still gonna speak up against the bullshit Aziraphale hate.

People are entitled to their opinions, but the Aziraphale hate isn't an opinion. It's just ableist, misogynistic garbage. At this point we all know y'all say these extreme things about Aziraphale because y'all get more joy out of the harm and alienation it is causing others.

Keep being loudly wrong, but if you think I'm not entitled to challenge shitty-ass, harmful, hateful discourse, bite my ass.

I'm not the one who lost the plot in this fandom.