#COME SUFFER WITH ME

[dreadfuldevotee]

Why do you talk to the book? The book is my friend!

[subtextsays]

The Paradise of Thorns (2024)

[halemerry]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[irafook]

[bisexualchaosdemon]

I've just thought about hwddt Neil and swdi Jean years in the future, when they both go pro. And, instead of donating most of their wages to ficticious charities for the Moriyamas, they are free to donate their money to real charities helping trans youth and young mothers.

[glitter-stained]

Utterly convinced the DC heroes 3 handbook was ghostwritten by Alfred Pennyworth

[polkadotk804]

If anyone is like me and wants a good, cleansing emotional Buddie sucker punch cry after that bts…you can listen to “If You’re Meant to Come Back” by Justin Jesso and think abt it playing over Buck and Eddie saying goodbye and Buck watching Eddie leave with his U-Haul

[feekins]

hey so if u rly wanna destroy urself w/Griddlehark Feelings, might I suggest

Boats and Birds by Gregory and the Hawk

🥲

[trans-jon-rights]

I keep seeing posts that are like "season 1 Tim would be friends with this character" or "season 1 Tim would make archives team watch trashy movies with him" or "season 1 Tim would do this, or this, and season 1 Tim is so friendly and nice with everyone!". And like. There is nothing wrong with headcanons. But I feel like it's very demonstrative of the larger fandom problem of completely ignoring canon to favour a carefully crafted, wildly spread and completely incorrect fanon.

Because believe it or not, season 1 Tim is.... not like that. When I first listened to TMA, before I had any interactions with the fandom, I didn't perceive him like this. Then I started interacting with the fandom, and I, too, saw this interpretation and said, "Oh! I'll add that to my belief system!". But I recently relistened to season 1, and realised how wrong that was.

Tim is "the hot one." Sure. That's canon, Basira said it in season 2. However, Tim is also an incredibly closed off and secretive person. And actually, canonically, he doesn't have many friends at the Institute. Which makes even more sense than him being friendly with everyone. He arrived at the Institute traumatised by The Stranger of all things, making him very distrustful of everyone. Yes, he became friends with pre-season 1 Jonathan "don't talk to me I'm busy" Sims, but Jon was also a traumatised person who was desperately looking for answers.

Sasha (who, by the way, I find is way too often ignored by the fandom) is the friendly one. Sasha became friends with Tim and Jon, Sasha tried her best to make Martin feel accepted in the Archives, Sasha is the nosy one who gets into everyone's business. Not Tim.

[my--possession]

@hauntedestablishments

Sometimes I think about how Dennis screaming "because I hate you" in moves to the suburbs would rattle around in Mac's little head. And Dennis leaving with no warning like a year later right after Mac comes out of the closet! Baby boy would just be laying in bed at night trying to sleep and hear it over and over and over

[shouyuus]

but see the double standard is that even though sae tries his damnedest not to make noise when you're sucking him off/riding him/pleasuring him however, but if you try to keep quiet, please keep your hands in the vehicle at all times and fasten ur seatbelts because you're about to have the vocal fry fucked out of you --

doesn't matter how long it takes, he'll go at it for hours.

he'll fold you in half, lock your knees by your ears and pummel into you till you're sobbing and sore and begging, till your voice cracks over his name, even though it's just a single syllable.

"'s n-not f-fair --" you hiccup, keening as he leans back to jackhammer into you from a deeper angle, his eyes half-lidded, his expression tamed into a fierce kind of placidness.

"don't ever try to hide your noises from me," he says, the words so low you almost don't catch them over the rhythmic smack of skin on skin, the lewd, heinous squelch of your raw, puffy cunt sucking him in each time he thrusts.

"s-sae please --" you keen over a particularly rough thrust, one that knocks the bed into the wall and you can almost swear you hear the headboard cracking.

you choke out a noise somewhere between a sob and a moan as he fucks you through the nth orgasm of that night, his pace never slowing, the end nowhere in sight. he only adjusts his grip on your thighs and watches you with a satisfied, slightly sadistic glint in his eye and says --

"mm... good. now louder."

[egophiliac]

ANNIVERSARY GROOVY BOYBAND! THEY ALL LOOK SO GOOD, I also love the hades reference with idia! Ik ur probably really swamped with the book 7 brain rot but I wanted to know ur thoughts. I also wanted to mention that I am so card deprived I feel like I need a replacement event to take tsumderlands place

AUGH NO I LOVE THEM. 😭 UGH now I really have to think about if I want to try pulling for Grim again. dangit. heck. I already got his little pedestal to add my guest room shrine, but...now I kinda need the boss himself...

also, the implications of it not being an OB thing, Idia can just. Do That? apparently? do you think he ever just sometimes does it by accident? what am I saying, he absolutely sometimes does it by accident.

gosh though. this event has been SO cute in general! I was wondering who'd get the focus for year 5; I could not be happier that the answer is apparently EVERYBODY. :D all the dorms get their own special songs! so many cute little scenes!!! the lowest of stakes bringing out the highest of pettiness in everyone!!!!!! it's excellent.

(also, because I will make literally anything about my diaboys...I know these events are typically sorta, let's say chronologically unmoored with regards to story. but the further implications that this takes place pre-episode 7/Malleus' Big Existential Crisis, and yet...some of these lines?)

[spideyswede]

Daredevil: Born Again vs. The Internet (V) - Matt going through it edition

Most images are from cap-that.com

[huachengsromcom]

People call Heaven Official’s Blessing / TGCF a slow burn but Hua Cheng is literally courting Xie Lian like they are DATING. Slow burn who??? They’re sleeping next to each other on straw mats and Xie Lian’s offering to cook him dinner and they’re bantering across THE HOME THEY SHARE like a bunch of desperate hussys

San Lang LEAVES XL WITH A KEEPSAKE OF THEIR TIME TOGETHER SLOW BURN WHOMST

They have A DATE in HC’s armoury where they HOLD HANDS and XL pets San Lang’s quivering sword I-

Hua Cheng basically throws himself at this man he’s like you want a sword?? All of them ?? You want ALL THE SWORDS?? Fuck it take the whole room THE WHOLE ROOM JUST COME VISIT I WILL CLEAN THEM FOR YOU

Like he isn’t the king of a whole realm with shit to do

And this is just the first half of the first book—again I ask the world SLOW BURN WHOMST

[hilacopter]

conflating diaspora jews with the actions of the israeli government is not okay, yes, but have you considered it's not okay to conflate israeli jews with them either

[dearmouse]

[image id: a spring themed header reads "Jellycat Gaza Support Raffle". Underneath is a picture of multiple jellycat brand plush toys. They are different animals and food items and a stuffed soft rainbow sits in the middle.

Donate to enter my raffle for a chance to claim your choice of a free jellycat plush !!!

Hello tumblr users! Do you love plushies? I am currently running a raffle through June 30th (6/30/25) to raise funds for my palestinian friends mother.

Ghada is a mother trying to survive in northern Gaza. She has one son and one daughter, along with a cat named Moka. I am raising funds on behalf of Ghada in order for her to afford food, water, shelter, and medicine in a time of extreme famine and active conflict. Ghada is an older women with multiple medicial needs including a heart condition and knee pain/issues along with trying to pay for basic necessities like food and water, if its even available.

More information on her story and current situation can be found in the campaign link.

image id: screenshot of Followers at 3,349

If even half of my followers here donated $5, we could reach over $7k (which is almost half the entire campaign goal).

Please consider donating towards the fundraiser, you could easily win a cute plush buddy while also giving hope to someone in a severe situation. If you enjoy the content I post here, I would massively appreciate any reblogs or sharing of this fundraiser so we can show our support for a mother and her family trying to survive genocide.

Rules of Raffle Below:

- Every $5 equals 1 Ticket (so a $50 donation would give you 10 tickets)

- Must be 18 years old

- Must send proof of donation via Messaging

- Must be OK with giving me address and name to ship via USPS (I will cover shipping costs)

- US residents only Im sorry I cant afford international shipping :( (Id be willing to ship out of country but wont cover the cost)

- Winner can pick one Jellycat from the photo. Theyre all in good condition but original tags are removed.