#Crank 2

[crank2006]

this may be the worlds first crank fanart

[myfairgame]

[everythingisok3000]

Crank 3: Pissed Off

Chev Chelios is back at it again except this time they took both his kidneys and that means he's gotta drink a lot of alcohol and take a lot of pee breaks. There will be lots of slurs and representation. There will be a scene where he has inexplicable public sex with his girlfriend again. If you show it to a young christian child they will explode

[dawormgawd]

looking for some one that can gwt in touch with Hollywood studios, i have a promising spec script for a 'crank' sequel called 'crank 3: maximum velocity'. they will attach chev chelios' head to a car, and make his canonically huge dick the drive shaft

[evilmia]

Crank 2 spoilers without context

remade Crash Bash loading screen 

[scleraphone]

season 4 i love you forever

[hyolks]

oh what a lovely family! i sure do hope nothing bad happens to them :')

[fuckyeahgoodomens]

Crowley using a crank handle to operate the universe ❤

[slavhew]

totally real interview

[burnt-milque-and-toast]

best fren :>

[axoqiii]

☕️🥞 sketch dump

[myfairgame]

Chicken & Broccoli

[cryptidowl]

Wrath of Heaven and whatnot

[vavoom-sorted-art]

Cranking up the heat - aftercare

These two deserve a break (and proper hydration!) and with that, we reach the end of this series! Thank you so much for reading, commenting and supporting!

Special thanks goes out to my Patreons who made this project possible, as well as @ukcalico who added some extra spicy snippets, and, of course, @moonyinpisces who rotted my brain enough to start this series in the first place.

Check out the Ao3 for bonus content and my Patreon for even more bonus content! (since the first post I made on here go nuked...)

links below! vv

tagging @goodomensafterdark!

[demontobee]

Good Omens is queering TV/storytelling - part 1: GAZE

I would argue that part of why Good Omens is so refreshingly queer is because it does not cater to the male gaze (which centers around the preferences - aesthetic, romantic, sexual, visual, logical, emotional, political ... - of mainly white men in positions of power):

no oversexualization of groups or types of people: Women or characters that could be read as female presenting are not overly sexualized. In fact, some of them are shown to be grimy, slimy and not sexual at all. All of them are real characters and not just cardboard-cutout on-screen versions of male misogynistic fantasies. They portray real people with real people problems. They are human, or exempt from our categories when portraying angels or demons. There are no overly sexualized bodies in general (as has so far also often been the case with young gay men, PoC, etc.), no fetishization of power imbalances, and not exclusively youthful depiction of love and desire.

sex or sexual behavior is not shown directly (yet): All imagery and symbolism of sex and sexuality is used not to entice the audience but is very intimately played out between characters, which makes it almost uncomfortable to watch (e.g., Aziraphale being tempted to eat meat, Crowley watching Aziraphale eat, the whole gun imagery).

flaunting heteronormativity: Throughout GO but especially GO2, there is very little depiction of heterosexual/romantic couples; most couples are very diverse and no one is making a fuss about it. There is no fetishization of bodies or identities. Just people (and angels and demons) being their beautiful selves (or trying to).

age: Even though Neil Gaiman explained that Crowley and Aziraphale are middle-aged because the actors are, I think it is also queering the idea of romance, love and desire existing mainly within youthful contexts. Male gaze has taught us that young people falling and being in love is what we have to want to see, and any depiction of love that involves people being not exactly young anymore is either part of a fetishized power imbalance (often with an older dude using his power to prey on younger folx) or presents us with marital problems, loss of desire, etc. – all with undertones of decay and patronizing sympathy. Here, however, we get a beautifully crafted, slow-burn, and somehow super realistic love story that centers around beings older than time and presenting as humans in their 50s figuring out how to deal with love. It makes them both innocent and experienced, in a way that is refreshing and heartbreaking and unusual and real.

does not (exclusively) center around romantic/sexual love: I don’t know if this is a gaze point exactly but I feel like male gaze and resulting expectations of what a love story should look like are heavily responsible for our preoccupation with romantic/sexual love in fiction – the “boy gets girl” type of story. And even though, technically, GO seems to focus on a romantic love story in the end, it is also possible to read this relationship but also the whole show as centering around a kind of love that goes beyond the narrow confines of our conditioned boxed-in thinking. It seems to depict a love of humanity and the world and the universe and just the ineffability of existence as a whole.

disability as beautiful and innate to existence: Disability is represented amongst angels by the extremely cool Saraqael and by diversely disabled unnamed angels in the Job minisode. Representation of disability is obviously super important in its own right, but is also queers what we perceive as aesthetically and ontologically "normal". Male gaze teaches us that youth and (physical and mental) health are the desirable standard and everything else is to be seen as a deviance, a mistake. By including disability among the angels, beings that have existed before time and space, the show clearly states that disability is a beautiful and innate part of existence.

gender is optional/obsolete: Characters like Crowley, Muriel and others really undermine the (visual and aesthetic) boundaries of gender and the black-and-white thinking about gender that informs male gaze. Characters cannot be identfied simply as (binary) men or women anymore just by looking at them or by interpreting their personalities or behaviors. Most characters in GO, and especially the more genderqueer ones, display a balance of feminine and masculine traits as well as indiosyncracies that dissolve the gender binary.

Feel free to add your own thoughts on this in the comments or tags!

[bugtoast]

HOW WE FEELIN POOTIS NATION?!?!?!