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nothorses · 11 months ago

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Let's Talk About Baeddels.

An (updated) retrospective on Tumblr's movement to make gender essentialism trans-friendly.

This post contains excepts from a longer article on Medium. If you have the time, please read the full article! I also request that you link the longer article if you use this as a source.

All links have been updated with archived versions of posts that have since been deleted (and otherwise might be deleted or lost sometime in the future). I have revised some sections, and included more context and examples, in order to clarify and strengthen arguments.

Disclaimer

Transmisogyny is real, and requires much more acknowledgement than it currently receives. The trans community is very much capable of transmisogyny, and often does enact or enable it; likewise, trans people also often enact and enable transphobia against other parts of the trans community. Trans women suffer at least as much as the rest of us, and trans women — as a class — are not privileged, and do not hold the power to oppress anyone else.

If you take only one thing away from this post, take this:

Trans people all need to work on being better allies to each other. None of us can gain anything without the rest of us.

Establishing an Ideology

The first post on Baeddelism was by Tumblr user @unobject, on October 2nd, 2013:

The post was quickly liked by @lezzyharpy, also one of the first to call themselves “Baeddels”.

This post first provided the name and defining ideology of the Baeddel movement. The implication of the post was, essentially, that because the root of the word “bad” was “baeddel”, and because “baeddel” referred to intersex people and “womanish men”, this old English slur was proof that transmisogyny was the worst form of bigotry; and even, perhaps, the root of all bigotry. (It’s worth noting that this interpretation of the etymology has been problematized.)

While @unobject was the first person to make this connection, @autogynephile (“Eve”) eventually became, in essence, the figurehead of the movement. Of the other Baeddels, some of them were explicitly aware and supportive of the ideology behind Baeddelism, some of them were young or newly-out trans women seduced by the personalities involved, and some of them were tangential enough to the movement that their understanding of it was wholly different from the understanding those at the core of the movement held and promoted. Baeddelism was a sort of trend, for a time, and many participants wore the name without entirely knowing what it meant.

It’s important to acknowledge that as much as there were dedicated members of Baeddelism, and as much as there was a unified ideology behind it, there were also individual Baeddels who did not understand — let alone support — the ideology.

The Ideology

Baeddels essentially built upon the foundation of @monetizeyourcat’s ideology that had been gaining traction on Tumblr in the years prior, with some additions that ultimately defined their movement:

Transmisogyny is the form of oppression from which all (or most) other forms of oppression stem.

Privilege is granted on the basis of assigned sex. (“AFAB” or “Assigned Female at Birth” vs. “AMAB” or “Assigned Male at Birth”)

These fundamentals of Baeddelism were essentially a rebranded form of Radical Feminism. In particular, they drew from the Radical Feminist idea that misogyny was the “primary” form of oppression; that which all other oppression stemmed from. Baeddels only tweaked this idea to replace “misogyny” with “transmisogyny”, which led to the rest of the conclusions Baeddels drew:

There is no “transphobia”

All “transphobia” stems from transmisogyny first, and transphobia as it impacts non-trans-women (or, sometimes, non-transfeminine people) is incidental.

There is no “Trans”

If “transphobia” isn’t real, what else is left of the transgender identity?

While this is by no means the dominant understanding of transgender identity or community, the equivocation of oppression to identity is, in many ways, core to Baeddel ideology (and we see the lasting impact of this in still-widely-used “TME/TMA” termingology). By this logic, if transphobia doesn’t exist, neither does trans identity or trans community (though they obviously believed that transmisogyny, and subsequently trans women, do). Therefore, there are no “trans men”, and belief in the existence of “nonbinary people” is highly contingent on whether an individual believes in the oppression of nonbinary people.

“AFAB Privilege”

The idea that within the queer and/or trans community, people who were AFAB/CAFAB (Assigned Female At Birth) receive unique privilege and positions of power that people who were AMAB/CAMAB (Assigned Male at Birth, a counterpart to “AFAB” and “CAFAB”) do not.

Trans Lesbian Separatism

… was what the movement was ultimately defined by, as the logical conclusion of their other beliefs (much like Lesbian Separatism was the logical conclusion of Radical Feminist beliefs).

Baeddels believed that only trans women can understand, or be truly safe for, other trans women; therefore, contact with anyone who was not a trans woman was deemed “dangerous” and highly discouraged.

Trans Men

… also played an important role in Baeddel ideology, and the resulting treatment of trans men is what is often remembered today. Baeddels generally believed the following, either explicitly or implictly:

Trans men are not oppressed, or experience so little oppression that it hardly matters.

Trans men do not experience misogyny, even prior to transition.

Trans men have access to male privilege, or trans men have an easier time passing, and frequently go “stealth”; thus benefiting from male privilege as well as cis privilege.

Trans men are often (or always) misogynistic and transmisogynistic, and are not held accountable for this.

Trans men oppress cis women.

Trans women enacting violence on trans men is “punching up” at oppressors, and therefore not only permitted, but encouraged.

Trans men are inherently violent, or become aggressive and violent when they go on testosterone HRT (Hormone Replacement Therapy)

The impact of this ideology is often discussed among transmasculine people because of the depth of harm it caused, directly and indirectly — and it was very much intended to. Harm caused to transmascs was not only permitted or excused, it was often actively celebrated.

Nonbinary People

… are often overlooked when summarizing Baeddelism, but Baeddels did have plenty to say about them. Baeddel ideology relied on the idea that privilege was granted on the bases of assigned sex, and nonbinary people’s genders were thus treated as irrelevent; they essentially did not believe nonbinary people truly existed.

CAFAB nonbinary people are either trans men attempting to invade women’s spaces, or cis women pretending to be trans.

CAMAB nonbinary people are actually just trans women who haven’t accepted it yet. They must transition, or they are transmisogynistic.

Intersex People

Intersex experiences, and intersex history, were often co-opted and erased by Baeddelism. This was often more a byproduct of their beliefs than an overtly-stated idea, but most notably, the term “Baeddel” itself is likely more applicable- if not exclusively applicable- to intersex people, rather than trans women. Making their reclamation of it as a “transmisogynistic slur”, or their claim that the word’s existence means that “transmisogyny is the root of all oppression”, incredibly ignorant- if not actively harmful misinformation.

Notably, Baeddels also believed that intersex people- being “more androgynous” (a harmful misonception)- were able to pass more easily as the opposite assigned sex, and that intersex people (even within transfemme spaces) had “intersex privilege”. Some even believed, and openly claimed, that intersex people were “hermaphroditic”; a slur against intersex people, and typically implying that the individual has both sets of reproductive systems simultaneously.

Trans Women

… did not receive universally positive treatment, either. Baeddelism was very much a cult-like group built around the firmly-held conviction that they were absolutely correct, and that anyone who disagreed with them was The Enemy. Trans women who disagreed with them were generally seen as brainwashed and self-hating, and trans women who did agree with them were expected to subjugate themselves to the ringleaders of the movement.

Within Baeddel circles, trans women were most frequently victimized by the abusers allowed to run rampant because “trans women do not, and cannot, harm anyone else.” — including, apparently, each other.

“They were also bad shitty abusive people in general. “… a bunch of them passed around a pile of smear campaigns and false rumors about virtually any trans woman that they had a even the slightest animosity for. Including the victim of the kinkster rapist. They’ve done other fucked stuff, like chased two twoc off this site for trying to make a zine, but yeah. That’s like, just some of it. I’m not up for going over the messy details of the whole shitparade. “Full disclosure, I made a lot of excuses for these sacks of crap, even while they were out there spreading false crap about me […] I wasn’t aware of the worst shit they were doing until much much later.” - @punlich

Inside the Movement

Though individual Baeddels often existed in vastly different social circles from each other- particularly offline- those who lived through the movement highlight commonalities in their experiences.

One interviewee recounts the manipulation present in their initial involvement with the movement:

“It came to me at a point where I was very quick to weaponize anything anyone told me about their experiences, because I was always a fighter. I’ve been an activist for a long time, you know, and when these trans women would come to me with their experiences I would believe them. I wanted to. But the way they acted didn’t add up when compared to what they were saying. I felt really lonely there, and stupid all the time. I felt like I was being a bad trans person.” […] “Online they were more willing to say things that were, for lack of a better word, stupid. They would say things that lacked any kind of logical sense. But in person, they would go into this kind of toxic femininity- this weaponization of weakness. And I think that’s because online they were often in these echochambers, but in person they had to rely on much more subtle manipulation.” - Vera

It seems at points that the environment created within this movement- and the social circles that composed it- was almost cult-like in nature and in need for control.

“It was very isolating. I didn’t see my friends for a while, I was kind of just living with them, cooking and cleaning for them, starving myself, and slowly growing crazy. I was just being consumed by this weird academia and theory that had no basis, because everything was online and Tumblr-based.” - Vera

Perhaps most chilling, however, are the patterns in their attitudes toward sexual assault. One interviewer recounts being subject to sexual assault, and upon posting about their experience to a Facebook group, being met with hostility from Baeddels present in the group- who quickly used their social influence to have them banned from some of their only support systems at the time.

“I ended up with pretty much no one to talk to about the experience at a time when I was already really, really struggling, and it’s one of several factors that led to me dropping out. “The Baeddel who got me banned also messaged me directly at some point during all of this, and I tried to get her to understand the pain she was causing me. She basically laughed it offand said it was my fault. She seemed to find a lot of joy in how much it hurt me, and blocked me soon after.” - Anonymous

Another recounts sexual consent violations from a friend-turned-Baeddel:

“[My ex-friend] had previously been fetish-mining me for her mommy kink. I was freshly estranged from my own mum, and she stepped in to be like, “I’m your new mum now,” and would pester me to call her “mum” in Welsh- as at that point she was going by a Welsh name. I played along, but it transpired that she was basically using that to get off, and she had a thing for infantilising transmascs and being this mum/mom figure.” - Luke

And yet another interviewee discusses verbal sexual harassment during interactions with another Baeddel:

“I had one [Baeddel] directly tell me that I’m beneath her as a trans man, and that I should “Shut my smelly cooch up” and only use my voice to uplift trans women. I was a minor at the time. “She then sicced her followers on me, and they bombarded me with messages telling me I’d “never be a real man”, that I needed to “sit on the side and allow them to have the spotlight”, and even telling me to kill myself- because I was inherently toxic to them. I was 16 years old, pre everything, and I couldn’t even pass at the time. They didn’t seem to care that I was a minor, or a newly hatched egg.” - Anonymous

While Baeddel ideology itself does not explicitly condone or excuse sexual assault, it’s striking how common these stories are; especially considering how small in numbers actual Baeddels were.

It was, in fact, this exact problem that would eventually cause the movement to dissolve.

The Downfall of Baeddelism

Sometime between the group’s formation in 2013 and their downfall near the end of 2014, @autogynephile (also “Eve”), the defacto “ringleader” of the Baeddel movement, began what Baeddels referred to as a “transbian safehouse”.

This was apparently intended as a place for unhoused trans woman lesbians and trans women who, in general, had sworn off contact with men; the ultimate goal of the lesbian separatist ideology at the core of the Baeddel movement. It was thus also referred to as a “commune” by some, and as a “cult” by others.

One occupant of the “safehouse”- Elle- later posted to Tumblr that they had been raped by Eve during their stay, and detailed their experiences.

The Baeddels, rather than believing the victim and ousting the rapist from their movement, chose to close ranks around Eve instead.

Various reasons were given for this:

The victim must be lying

The victim- and anyone who believed them- was simply transmisogynistic.

Anyone who disagrees with the Baeddels is an Enemy Of The Movement, a “carceral thinker”, and a danger to trans women as a whole.

Trans women are incapable of sexually abusing anyone.

“Standing with Eve” was the ultimate sign of loyalty to the movement, and thus a mark of pride and honor.

It was okay to keep being a Baeddel no matter what, because Rape Accusations Should Be A Personal Matter.

(You can read more about Eve’s own denial of these events here and here.)

Years later, even people involved in the initial group have spoken out against the movement and actions of those involved:

“I was in ~the Baeddels~ for years and like… we straight up did horrible shit. “We harassed anyone that disagreed for any reason, our politics were terrible, our isolationism made an environmental ripe for abuse that I have firsthand experience of, there is nothing in that group worth salvaging or defending. “Also acting like people are just bringing this up out of the blue is silly like… it’s being brought up because people are still trying to defend the shit we did instead of fucking recognizing that it was wrong. “Creating this myth that hate on the Baeddels is just a way of keeping trans women in line is a tacit defense of the horrid shit we did.” - @lezzyharpy

“like I’m sorry but I served my time in shitty awful Baeddel group in early mid 2012s and it fucking sucked ass.” “… Like it’s straight up cult-like the way you build this self-reinforcing network wherein ayone on the outside looking in with any criticism is unsafe, not to be trusted, only there to hurt trans women, and the only people you can trust is this self-selected group of trans women.” - @lezzyharpy

Why It Matters, and Why Baeddelism Never Really Fell

Baeddelism itself has seen multiple attempts at resurgences by various individuals, including documented experiences with self-proclaimed Baeddels as recently as 2018- well after the movement first “fell” in 2014.

Most proponents of “Baeddelism 2.0”, a revival of the original movement, argue that the abuse that occurred within the original movement was either completely fabricated by detractors (sound familiar?) or, at minimum, not actually inherent to the ideology.

And, of course, there are some original Baeddels still active on Tumblr today.

Baeddelism never actually went away.

“Baeddelism” was only one name for a set of beliefs that existed long before the specific term did, and hasn’t gone anywhere since the original Baeddel movement died down.

What the Baeddels did was put a name to the ideology @monetizeyourcat was cultivating before them, and what Cat did was popularize, centralize, and justify a way of thinking that had existed before she ever made her blog.

This ideology has since been referred to, loosely, as “TIRF-ism”: Trans-Inclusive Radical Feminism.

It is rare that anyone actually refers to themselves as a “TIRF”, and there is no real centralized TIRF movement; rather, a loose collection of radical feminist beliefs circulates various transgender spaces. The validity of these beliefs is generally taken for granted: of course (trans) women are The Most Oppressed People; of course (trans) women are Inherently and Unequivocally Victims In All Situations; of course (trans) men are Inherently Oppressors; of course (trans) men are Dangerous and Evil… and so on.

Like Radical Feminism, and subsequently Trans-Exlcusive Radical Feminism (TERF-ism), those ideas are fundamentally dangerous.

The defining tenants of radical feminism are that misogyny is the root of all oppression, and that rather than misogyny being an issue of power and control on a society-wide level, it is instead, or also, a matter of oppression and privilege on an individual level: men are always oppressors, and women are always victims.

These beliefs fundamentally exclude and erase the experiences of other marginalized people.

Namely, people of color and indigenous people, who’s experiences with and concepts of gender do not fall within the strict and rigid lines that white, western, colonialist people’s do.

Radical feminism is not a redeemable ideology. It cannot be reshaped into something good. It is fundamentally broken, and the movements born from it- lesbian separatism, political lesbianism, TERF-ism, TIRF-ism, and Baeddelism- are proof enough of that. They each promote only surface-level variations of what is fundamentally cult-like thinking: only the in-group can be victimized. Only the in-group is safe; the out-group is inherently and universally dangerous. Only the in-group understands you. All members of the in-group are, fundamentally, incapable of abuse.

We cannot allow these ideas to be perpetuated within or without the trans community.

Learn the Signs & Prevent Harm

Here’s what we can do to prevent this from happening again:

Learn what Baeddel ideology and TIRFism look like, even detached from the name.

Learn what radical feminism looks like, even detached from the name. Even from people who claim to oppose radical feminism.

Act on dogwhistles. Call them what they are.

Do not allow people to downplay the harm all forms of Radical Feminism have caused. Remind each other that Radical Feminism is not a redeemable ideology, and seek out other branches of feminism instead.

Remember the harm that has been caused. Remember that it will be caused again if these things are allowed to go unchecked.

Listen to and uplift marginalized people. Allow them to speak to their own experiences, identify their own needs, and name their own oppression.

Remember who the real oppressors are, and do not pit marginalized people against each other. The people perpetuating and benefiting from transphobia are cis people- and more specifically, cis people in power.

Build solidarity with other marginalized people. One group of trans people cannot gain liberation without liberating all trans people, and one group of trans people cannot be targeted without the rest of us suffering as well.

Remember that there is no group or identity incapable of enacting abuse, violence, harassment, or other harm against another. Victimhood should not be determined based solely on an individual’s identity.

Remember that there are no acceptable targets for violence, cruelty, harassment, and abuse.

For more context and a list of red flags, read the rest of the article here:

#baeddelism #baeddel #baeddels #transgender #transunity #transmasc #transandrophobia #transfem #nonbinary #non bianry #transphobia

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shurisneakers · 25 days ago

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unsolved (vii)

Summary: Bucky doesn't even believe in the paranormal. So who the hell thought it was a good idea to stick him in a series about everything haunted for the internet's amusement? With his loose-canon of a teammate who has no concept of subtlety or shits left to give, to make things even worse. (Buzzfeed unsolved AU)

Warnings: swearing, frustrated bucky, obnoxious reader, mentions of hauntings and the paranormal.

A/N: hello. i am late again. i almost gave up but we are here. for better or for worse. i will most likely go back ad edit the second half again ok love u guys mwahmwah

Previous part || Series masterlist

Only after hours, nay, a full day of hunching over his desk, eyes red-rimmed and burning, four crushed cans of energy drinks next to him lending to him the nervous energy of a chihuahua, Bucky realises that there’s no beating it.

He absentmindedly takes another sip of the RedBull, flinching when the taste registers. Either he’d reached his threshold or the medicine flavour had begun morphing into something else entirely. The caffeine didn’t even work on him, so really, he was just placebo-ing himself into having energy.

Every site he’s visited has had a vastly different interpretation; ones that don't match what he thinks has been happening, or the context past his past provides. Others are simply blatantly wrong based on the additional research he, in his infinite wisdom and totally accurate self-assessment tendencies, has been gathering in the last 3 days.

The Star. Six of Cups. The Hanged Man.

Bucky knows he could ask someone in real life about this, someone who possibly had more experience than a simple website whose code broke every time he tried to scroll to the bottom. However, that would mean that he had to tell them his dead sister was probably haunting him out of her spite and hatred for the very fibres of his being.

Also, Bucky may be haunted by his dead relatives, but he’s not haunted enough to actually leave his room over it.

Video consultations were also an option, but he’s convinced that if word got out that Bucky Barnes was half-convinced ghosts were following him around, it would make headlines for a mighty long week.

Therefore, he resorts to shady, online websites that demand he pay up before giving him the results of the readings they’ve done for him.

The “lady” that he paid to talk to using Steve’s credit card on mistytarot.com types for a very long time before a message comes through.

The thought bubble disappears for another half an hour, and Bucky thinks hat either she is a complete scam, or it’s run by someone who is about as technologically proficient as Steve was.

But a message does in fact come through, and it’s enough to have him be covninced that the 20 bucks he blew on Steve’s card was worth it.

Lady Lilia

Considering that you think you’re being haunted, The Star could represent the absence of hope. Do you feel like you’re being trapped in darkness? As if you are being abandoned by the universe and with no room for healing?

B. Barneswell i forgot about it until now

Lady Lilia If your sister passed away a long time ago, the reason The Six of Cups may have presented itself is because you may be feeling like you're ensnared in the past, constantly reliving moments that hurt or confuse you, rather than finding peace.

A frown grows on his face.

Lady Lilia If you’re haunted by a person who used to be in your life and it is reminding you of past mistakes, The Hanged Man could be because feel like you're stuck in a cycle of stagnation, unable to move forward, as if these spirits are keeping you suspended in a state of emotional paralysis.

However, if the cards were upright–

Bucky slams the laptop shut, inhaling and exhaling sharply through his nose.

From the corner of his eye, his phone lights up with the fifth missed call in the last ten minutes, but considering that he keeps that thing on silent, he never even noticed.

Shoving aside whatever he may be thinking for the moment, he checks the caller ID, only for feelings of confusion and despair to be immediately replaced with annoyance, or disgust even.

He calls back anyway, preparing for the worst.

“Did you drink all my RedBull?” Clint booms the second he picks up.

“No,” Bucky lies smoothly.

“Fucker, I know it was you. Pay me back. With interest.”

“No.”

Clint switches to whining. “You know I need that shit to stay awake at night. Some of us don’t have superhero cocaine in our system.”

“I don’t care, go to sleep at a normal hour.”

“Say, did you drink every last one?” Clint instantly switches to a curious tone for a second. “Because one of them’s not like the others.”

Bucky looks at the cans that littered his bedroom floor. “Why?”

“I can’t tell you what it is over the phone.”

“Why?”

“Let’s just say it’s not exactly allowed in the country, but–”

Bucky cuts the call and tosses it onto the bed.

He runs a hand through his hair, softly exhaling while contemplating whether or not to continue the chat. Steve wouldn’t miss another 20 dollars, he had the wealth of a small prince with all that army back pay bullshit. In fact, Steve should ideally be funding more of Bucky’s endeavours.

There comes a knock at his door.

Bucky immediately leaps off the bed, sprinting to the door, because he fuckin knows that knock, goddamn it–

He throws open the door before you get the chance to full body slam against it.

“Oh.” You blink, relaxing away from your stance. “Hey. How’d you know–”

“You do this every week,” he breaks in. “You do this multiple times a day.”

“Don’t you dare say I’m predictable,” you warn, raising a finger. “I’ll start crying right here, then you’ll have to deal with that. You wanna see snot running down my–”

Bucky slams the door shut again, waiting to turn around.

“Can you take me to the doctor?” Your voice is muffled through the solid wood.

It’s enough to make him hesitate, hand on the doorknob.

“What’s wrong with you?” he inquires..

“Nothing, I’m perfect,” you reply instinctively, before course correcting, “Wait, no, I’m sick.”

He lets his head drop against the door. “Go to the fucking infirmary.”

“The infirmary told me to go to the hospital. Can you just take me?” you bug. “They won’t discharge me unless I have someone with me to drive me back.”

“You have a head injury?” Bucky asks, before following it with, “Actually, that tracks.”

“Rude.”

“Ask Nat.”

“Nat’s in Lagos.”

“Ask Sam.”

“Yoga.”

“Clint.”

“Really.”

“Glad to know I’m your first choice,” he mumbles, opening up the door.

You send him a blistering smile. “You’re my favourite choice.”

______

“You gotta take this turn,” you instruct, too close to the actual crossing.

“The nearest hospital’s five minutes away, what the hell are you talking about?“ he points out, eyes on the road.

“We’re going to the one on King’s Road,” you read off of Google maps. “Take that lef-– well, you missed that. Now you gotta make a u-turn.”

“What’s the problem with Chastain Park?” he demands. “King’s Road is half an hour away.”

“This one’s got all my files,” you insist. “Otherwise I gotta start over and it's so much effort.”

“Aren’t you in a database?”

“Yeah, but not a medical one.”

Bucky lets out something akin to a growl and a groan. “What's the time?”

“Like eight thirty?”

“What’s the time,” he emphasises, because he most definitely had another email due from another lady on the internet who he had sent his cards to a few hours ago.

“Fine, it’s eight twenty two,” you shoot back. “Did that make a big difference?”

“Yeah, it did actually,” he fires indignantly, “My life is radically different. You have no way of knowing.”

“Liar. You’re a lying liar, who lies.” You scoff. “And details are for losers.”

“Losers can drive all the way back to drop you off at the infirmary and let them deal with you.”

You relent, flashing him a grin. “This won’t take long.”

“You say this every fuckin’ time,” he groans, before complying and taking a u-turn anyway.

“You’re fucking joking,” he states.

“No, it’s actually called lying,” you correct casually.

“Is this an abandoned hospital? What the fuck?” Bucky asks, staring up at the huge decaying building.

The outside looks run-down, with cracked, weathered brick walls and broken windows. The entrance is blocked off with rusted gates, some sections of which have fallen over. As the car rolls up, the air is thick with a musty, damp smell, mixed with a faint odor of decay.

“Yes,” you say simply, opening the trunk of the car and pulling out all the supplies you had from last time. “Video time. Let’s go.”

“You didn’t have to lie,” Bucky mumbles. “I’d have showed up.”

You give him a deadpan look. “You famously never do.”

That’s fair, but also, that was the old Bucky. The new Bucky circa this week is a bit more… invested. He feels the need to gather some more information, and unfortunately, the only opportunity to do that is here.

So for the time being, he decides he will hang on. For purely selfish reasons.

“Just tell me next time,” he grunts.

You observe him for a second like you're about to call him out on something, but instead you simply say, “Okay.”

Bucky grabs his usual stuff– the spirit box, a lapel mic, while you levitate the camera.

“Hello?”

You both look beyond the camera at the same time to someone stalking up to you.

“Who’s there?” demands a middle aged woman with straw blonde hair, wrinkles decorating sunburnt skin, and a navy blue jacket.

“Uh–”

“Who are you?” she asks, cautiously stopping a few feet away.

“We’re here on a video shoot,” you inform. “Just wanted to check the place out.”

“Oh, you’re one of them camera folk,” she says, ponting her flashlight at you. “Those ghost hutner types.”

“That’s us,” you agree, flinching from the bright light. “We're from The Graveyard Shift.”

“Who are you?” Bucky cuts in, because why should only the both of you explain.

“I’ve been working security here for the last thirty years.” She shines her flashlight at the musty place. “Name’s Brenda.”

“Why does an abandoned hospital need a security guard?” Bucky inquires.

“Management just underwent a shift. White collars are setting up a mall here, so they bought up the whole place, fired everyone and now they’re gonna build an all year ski world or something in there.” There’s a tick in her jaw as she draws it out. “Whole damn place is cursed. They better hope it only burns down.”

“Okay,” you drag out, giving Bucky a sideways glance. “Anyway, we’re gonna go check out the place. See if we can find some ghosts.”

“Oh, you’ll see ‘em, alright. Everyone who was collateral damage in the buyout is still in there.” Her voice is distant, arm coming to rest on her hip. “You’ll have to hit up specific rooms. Y’all got a floorplan?”

“No, figured we’d just wing it.” You pause. “Hospital wing it.”

“Shut up,” Bucky replies on instinct.

“You’re gonna be spending a lot of time in there if y’all dont know where youre’ heading. It’s a maze,” she continues, ignoring your brilliant joke. “I can show you the rooms, but I can’t guarantee that it has ghosts in there.”

“Uhhh—” you begin.

“It’ll cut down your time in half.”

“Deal,” Bucky says immediately, sticking out his hand for a shake.

Brenda sticks out her hand too, only to wince immediately, following it up with a curse.

“What’s wrong?” you interject.

“Damn back’s killing me,” she mutters. “You’d think death would stop the pain, but it’s not let up yet. Come on then.”

Both of your eyebrows knit together at her statement, but she leaves no room for a reply as she marches inward, one hand on the small of her spine.

Bucky elects to use his phone flashlight, as if he keeps that shit charged above 40% at any given point of time. If anything is not going to make it out of the night alive, it was that thing.

The air inside is stale and heavy, filled with the scent of mildew and old, rusted metal. All three of your footsteps echo in the silence, reverberating through empty halls with each cautious step. The moonlight in conjunction with the flashlight casts long, unsettling shadows. The faint taste of dust lingers in the back of Bucky’s throat that he cannot get rid of.

“Y’all gonna sleep in here tonight?” Brenda pipes up, swinging her flashlight around.

You look at Bucky with a grin that’s alarming.

His face immediately pulls into one of “What the fuck”

“No, we aren’t,” you announce instead. “But do people do that often?”

“You’d be surprised,” she comments. “You’re not the first folks we’ve had here with those fancy shmancy gadgets.”

“That explains how you have a tour all planned.”

“We get a bunch of you every couple of months.”

“Who is ‘we’?” Bucky cuts in.

She pays him no need. “Y’all run a podcast?”

Bucky looks personally affronted. “No, we do not.”

“We run a YouTube channel,” you offer instead. “It’s for ghosts and stuff.”

“I see,” she considers, tone thoughtful. “So, this will go up online?”

“Unfortunately,” Bucky murmurs.

“Have you caught ghosts before?”

“Not even one–”

“Several,” you chirp. “And we have a witch cat. Her name’s Alpine.”

Bucky narrows his eyes at you. “Since when is her name Alpine?”

“I gave her a bunch of options and she told me she liked that best.”

“The cat can’t talk.”

“To you. She and I chat shit everyday,” you dish back. “She hates that stupid fern in your room, she says it smells.”

That fucking fern was not even his idea. But Sam got it for him when he moved in, so there was a zero percent chance it would be leaving any time soon.

“Tell her to fuck off.”

“Y’all got a large following?” Brenda interrupts.

“Building towards it.” You look at her before looking at Bucky. “Once we hit a sizable amount and Bucky becomes an official internet boyfriend, we’ll stop the series.”

He sends you a withering look. “We’ll be doing this till I die.”

“Nonsense, everyone loves you,” you dismiss. “You’re a pretty boy and extremely irritable. They think you’re hilarious.”

His nose twitches, and he feels the need to clear his throat.

“Your camera records ghosts?” Brenda asks again.

“We’ve got a bunch of devices. We’ll catch it,” you sound confident.

“Great, because here’s the first stop,” she says, pressing her shoulder onto a double door.

The door groans as she pushes, its hinges protesting with a long, rusty screech, the cold metal heavy under her hand. A stale gust of air hits your face, carrying the faint smell of rot as the door finally gives way.

She steps back with a small huff, stretching her back with a small, “Shit.”

The pale blue walls had turned greenish, wallpaper peeling away. Counters were covered with a thin layer of dust. Old tools laid unused on the surgical table, once stainless steel but now rusted.

“A lotta deaths happened in this operating theatre,” she imparts after a bout of stretching. “They thought this place was cursed for a while.”

The sterile, tiled walls are cracked and chipped, and the old surgical lights hang dim, their bulbs long burned out. The air still lingers with antiseptic that’s long since turned sour.

Bucky feels a little too acquainted with this setting.

He doesn’t even realise his silence is palpable until you nudge his side, drawing his attention sharply back to you.

“You doin’ okay?” you whisper.

“Fine,” he says, tearing his eyes away from the tools and towards you.

It only twists his stomach a little. It makes him think of how different his reactions used to be even a few years go.

“Old, dingy hospitals may not have been the best idea,” you admit to him, using the flashlight to shine a light in the corner.

It occurs to him a second later once he forces himself to compartmentalise.

“You okay?” he asks, voice low.

“Yeah,” you reply, slowly looking around. “Just looks like my nursery.”

A small crease forms between his eyebrows.

“Not gonna lie, mine was way prettier. Lot more mould on the walls,” you continue, tone light. “You know, timeless decor.”

His nose lets out a small exhale in the form of a laugh. “Leviathan not into blood stain wallpaper?”

“Couldn’t afford it. Fuckin’ place kept referring to itself as Hydra’s sister org but had none of the budget,” you say, swiping a finger across the dust. “You’d think that at least some of the people that left would give alumni donations, but no.”

Bucky snickers at jokes literally no one else would laugh at. It feels good for once, not to feel the need to censor himself to make others less uncomfortable.

You take a step forward, camera following behind you.

You shine the flashlight around the room, noting all the surgical trays piled together.

But something flashes on the ceiling.

You swing your flashlight toward it immediately, only for the table beside you a few inches away to start rolling, making a loud whining noise as it did, snapping your attention towards it.

By the time you finally bring the light back up towards the ceiling, it’s gone.

“What the–” you mumble.

“What?” Bucky asks, looking up from where he was scrolling through his phone.

“Could’a sworn I saw–” you frown at the empty space now, only an old defunct looking camera staring back at you.

“Red eyes?” Brenda inquires, looking at you. “Yeah, that happens.”

Bucky glances up at you, and then the wall. “Probably just the lens glare.”

You scrunch up your face at her. “How’d you know it was red eyes?”

“That’d be the spirit of ol’ Doctor Damon, chief of neuro,” she says. “You’ll find him here or his cabin, but that’s a few floors away. He never liked climbing the stairs.”

“Right,” Bucky acknowledges monotonously.

“When he worked here, he spent so long in surgery that his eyes were always bloodshot. One day he just dropped dead from exhaustion,” Brenda explains. “So his spirit walks around here, red eyes, wheeling surgery tables waiting for the next patient.”

“What’s he doing on the ceiling?” Bucky questions, going back to his phone. “He did his surgeries suspended midair?”

“Are you trying to gatekeep the ceiling?” you scoff. “Have you never seen Spiderman hanging upside down for fun?”

Bucky finally lifts his sight from the phone. “The doctor is not an insect superhero, he would have no reason to be hanging upside down–”

“How would you know if he’s a superhero or not? What if he was bitten by a bat?” you challenge. “Like a bat…guy. Batman.”

He jeers. “Then he’s got a stupid codename.”

“Oh, and Captain America is poetic genius.”

“At least Sam has a codename, where’s yours?”

You narrow your eyes at him. “Maybe you should have paid attention when your mother was screaming it las-”

“Shall we move on?” Brenda asks calmly.

“Yes,” the both of you reply simultaneously.

She doesn’t even bother looking at you, almost as if she’d seen it all in her lifetime.

“Besides, sometimes you can see him sitting on one of the operating tables. He doesn’t just hang out on the ceiling like… bat…man,” she explains, leading the way back out.

“See?”

“See what?” you ask.

“Nothing,” he replies. “There’s nothing to see. That’s the fuckin’ point.”

You shove him lightly.

Bucky bites back a grin.

_____

The morgue is silent.

The ceiling is low and chipped, streaked with stains of old water damage, the paint fallen away in patches.

Against one wall, old, disused morgue drawers stand open and half-broken, the once-sleek stainless steel now speckled with rust. Some of the drawers are bent out of shape, while others are stuck, sealed tight from years of neglect. Inside some of the open drawers, tattered, yellowed tags hang loosely from the handles, swaying gently as the chill air moves through the room.

“This room’s self explanatory,” she says. “Sometimes, you can hear spirits still trying to claw their way out of the drawers but they never open.”

“Skill issue,” Bucky mumbles under his breath.

“Shut up, oh my God,” you whisper-yell, still mouth pulling into a thin line to stop from laughing.

“What?” Brenda asks, suddenly from near the drawers.

You had no idea when she even went there.

“Nothing,” you reply, before thoughtfully asking, “Bucky, truth or dare?”

“No.”

“Dare it is.” You shine a flashlight at one of the closed drawers. “I’ll give you twenty bucks if you get in one of them for a few seconds. Let’s see if the ghosts come at you.”

“You're deranged,” he replies, incredulous.

“It’s for science,” you insist. “How else will you know for sure?”

“I’m sure it’ll be comfortable,” Brenda quips. “Like a coffin.”

The both of you look at her together in silence.

She shrugs. “It’s what I’ve heard from them.”

You look at her for a second more, before turning to Bucky. “Anyway, if you want I’ll come lie in there with you.”

“How does that make it better?” he exclaims. “I am not lying in the morgue.”

“Even if I’m in there with you?”

“That’s even worse–”

There’s a loud knock from one of the drawers on Brenda’s side. She looks down at it, almost like she was expecting it. Soon, there are further loud thuds that come from inside the remaining drawers.

“Hey, Magda,” she calls, before more knocks come from inside. “You’ve got visitors. Say hello.”

You grab the spirit box from behind Bucky’s ear and hold it in the direction of the wall. Nothing registers.

“Animals,” he answers the question hanging in the air calmly.

“The spirits?” Brenda replies. “They’re not gonna like that.”

Sure enough, a few of the drawers start rattling on their own accord.

You look at Bucky with an eyebrow raised.

“What?” he carps. “I’m not gonna go lie down in there, if that’s what you want.”

“Come on, take one for the team,” you whine.

“You take one for the team.”

“I’m literally the one pulling all the weight around here. You do it.”

Bucky doesn’t agree with you on the last part, but the first one is undisputably right. He makes a mental note to start contributing a fuckton more if he plans on continuing on in the series.

The rattling around comes to a halt eventually.

“If none of you want to get in there, should we move to the next one?” Brenda points to the door.

“Yes, please,” you confirm, sending Bucky a glare.

She leads the way up the stairs while you both follow, bickering and shoving lightly.

Once upstairs, Bucky glances down the hall, only to see a large double door that is noticeably different from the rest you’ve seen so far. There’s a fading rainbow drawn on the front, little footsteps painted onto the floor leading towards it.

Bucky hesitates, steps faltering. “Is that the children’s ward?”

“Yes,” Brenda looks over her shoulder briefly.

For a second, he wonders. Whether it was worth a shot. He hadn’t heard from her since the incident at the house, and the tarot cards have been suggesting nothing but reasons to believe she may actually be there.

“Are we going to check that out?” he asks.

“No, there’s nothing there,” she shrugs it off. “No spirits. I’ve asked the others too.”

Bucky shifts uncomfortably. “Are you sure?”

You shoot him an odd look that he refuses to meet.

“Yep. Next stop’s the other way.”

Bucky spares the doors another long look, before traversing down the hallway with you.

“Why do you wanna go to the children’s ward?” you query, voice low.

“Just thought it was worth checking out,” he replies, voice steady.

“We can always make a run for it and go check.”

“No,” he says, giving you a curt shake of his head, “it’s alright.”

“We’re right down this way,” Brenda calls, turning a corner and disappearing out of sight.

“Coming!” you call back before spinning to Bucky. “Hey.”

“What?” he responds, moving at his own brisk pace.

You tug him back with you with force.

“What are you doing–’ he hisses.

You link your arm with Bucky’s, pulling him along with you as you walk, shutting him up. He eyes your elbow looped with his and the proximity with which you walked beside him and all of a sudden, the back of his neck feels quite warm, extending down to his chest.

“I think Brenda’s a ghost,” you tell him casually.

Bucky stops in his path, drawn very much back to reality.

“Keep walking,” you grit through a smile. “I’m pretty sure she’s dead. Why else is she totally chill with the ghosts here-”

“Because there aren’t any. It’s animals.”

“Why is she saying coffins are comfortable? Why is she talking to the ghosts and knowing exactly where they are and aren’t?”

“I can make shit up too, look,” Bucky comments enthusiastically. “Oh, down the hall is the isolation room. You’ll hear heavy breathing because that’s where the tuberculosis patients were–”

“That’s one of the isolation rooms,” Brenda’s voice echoes down the hall. “It’s next up.”

You yank your arm away from Bucky when he blinks, a bit surprised himself.

“Are you dead?” you whisper-yell.

“Only ‘cause the government declared it,” he sighs. “Do you know what a fuckin’ pain it is to get undead.”

“Come on.” Brenda beckons to the both of you with her flashlight.

With a slight shove, the door to the room swings open easily, but the smell of old paper and mildew floods your senses.

The bed is now a rusted, sagging frame, the thin mattress long since torn and discolored with age. The once-clean sheets have yellowed and frayed, with remnants of old stains. Thin, brittle blankets lie in a heap on the floor.

The walls are bare, save for a few faded medical charts and broken instruments that were left behind in haste. The small window that once offered a faint glimpse of the outside is now cracked and filthy. The weak, filtered light that struggles through the dust-covered glass barely illuminates the room.

“Patients who were highly contagious were quarantined here. Some of them died without family by their side, so you can still hear their cries. Some of them have problems breathing, so sometimes you’ll hear it through the vents,” Brenda explains.

“I bet,” Bucky drags out, sending you a “I fuckin’ told you so” look..

Down the hall, something makes a loud sound, almost like something had crashed into the floor.

All three of you turn towards it.

Brenda’s face flickers for a moment before turning back to its regular calm.

“I think someone’s angry,” she decides. “I’m gonna go check it out.”

“Do you want us to come with you?” you offer.

“I’ll be okay, I’ve known these people all my life. We’re friends,” she comforts. “Oh, sometimes if you look out the door, you’ll see shadows of people in the waiting room down the hall. They’re just old families lingering around, hoping for better results but they always leave upset.”

“Is there no way to get them out of here?” you ask.

She shrugs. “Unless you find a way to fix their disappointment, I doubt they'll leave. They’ll stick around until something improves or changes.”

Bucky’s eyebrows furrow at the implication. If that were truly the case, and not just something he concocted in the deep, self hating crevices of his mind, then he had to figure out which part of the fucked up mess that he was had pissed his sister off enough to come back to let him know she was disappointed.

You nod at her and she nods, spinning on her heel to exit the room, but not before she stops for a second, hand on the doorframe as she catches her breath, and one hand on her spine.

“Are you okay?” you sound genuinely concerned.

She flashes you a thumbs up, leaving without so much as another word.

“She’s gonna come back with some bullshit about the hospital canteen staff dropping their pans or some shit,” Bucky remarks.

“Yeah no, that was me. I just wanted her out of the room so we could discuss something,” you wave it off quickly.

Bucky stares at you.

“What? I dropped a cart. It’s not a big deal. Anyway, listen–”

“She’s not a ghost,” he states resolutely.

“But what if she is,” you insist, a wicked grin on your face. “Imagine saying we got a ghost tour. By a ghost.”

“I can imagine saying that, yes. I have a very wide and limitless imagination.”

“Ugh, what if we’re meant to help her find her way back?” You peer over his shoulder to see if she’s walking back.

In the distance another crash sounds through the empty hallways. Bucky stares at you.

“I’m just making sure, it’s not like I’m hurting anyone” you insist, dismissing it.

“You could've just closed the door,” he says, extending one hand behind him to slide it closed.

“Don’t do that,” you blurt out.

He stops, eyebrow raised.

“I don't like when doors are closed,” you shrug it off. “Anyway, back to the point. We should totally figure out how to help her exit this realm.”

He slides the door back open slowly, narrowing his eyes at you.

“EVen if she were a ghost, which she’s not– she seems happy here. Maybe,” Bucky comments, taking a seat on the worn out bed. “I can’t really tell.”

“She can’t be. Imagine being forced to roam the same hallways over and over again till the end of time.” you shudder. “Sounds miserable.”

Bucky shrugs, poking at the pillow, watching a cloud of dust fly up from it. “Routine sounds fine to me.”

“I’d hate it,” you counter immediately. “I hate routines. Fucking inescapable once you get stuck in one.”

Bucky watches you curiously as you shift up and down the small room. “How do you get anything done?”

“I can get things done without a routine.” The camera follows your command, checking outside the window or the door occasionally facing Bucky. “Why?”

“Just asking,” he replies, checking the time on his phone. It’d been a while since Brenda had gone to investigate.

“And having a routine totally makes you an easy target. Haven’t you watched any assassination movies?”

“No. I didn’t like bringing work home.”

You look at him in surprise before your face splits into a smile.

Something makes a noise from the wall adjacent to the door.

You both look at each other, and he gets off the bed to go see what the deal is. The door is adjacent to the wall, giving him a clear look into the hallway that was still empty.

A faint wail sounds through the vent above his head. You take quick steps towards where he was, and the camera follows suit, pointing at the grill on the wall.

You stand underneath it, spirit box raised as close as you could get it, but the damn thing picks up nothing.

Another noise comes through, almost like someone was wheezing, before the vent rattles, stopping altogether.

You stare at it, before taking a gigantic inhale and exhaling obnoxiously, forcing all the air out of your lungs with a wheeze.

“What the fuck are you doing?” Bucky stares at you like you're insane.

“Well, you can’t just back down,” you argue. “I’m gonna breathe louder than that thing.”

“Jesus Christ,” he mumbles.

You give another gigantic inhale and exhale, rattling all the bones in your body, and the faint noise from the vent stops too.

“We win,” you beam

“You’ve completely lost it.”

“Uh, no, I didn’t. I totally won.”

“That’s not what I–” Bucky starts but stops himself when you grin at him devilishly.

He sighs, asking instead, “Should we go looking for her?”

“I guess so,” you shrug. “We’re not exactly cut to be her saviours right now. I’m pretty sure she knows the layout of the hospital better than we do if she’s been haunting it for fifteen years.”

“Where did you get that number?” he demands.

“Does it matter?” you urge. “Didn’t realise you’re a valid ghost only if you have a certain number of years in haunting.”

Bucky ignores you, taking off down the hall.

“If you had to haunt a hospital or a ship, what would you choose?” you quip, matching his pace.

“Hospital,” he answers without thinking much.

“Why?”

“I spent a lot of time in them,” he tells you, voice clear. “Steve’s mom was a nurse. We’d meet her there a lot when he got his ribs broken or his nose busted.”

The memory, though faint, is enough to pull a smile from him.

“He also used to be sick a lot, so I used to come pick up his medicine for him,” he adds. “They used to know us by name because we’d be there nearly every second day.”

You exhale a small laugh. “Every hospital in the state of New York has a chart for Steve even now.”

“Fuckin’ guy just dosn’t learn.” Bucky shakes his head with affection-laced irritation.

The hallways stretch out endlessly, dim and wide. A few doors line the walls, some ajar, revealing only darkness inside. The silence is unnerving, broken only by the soft sound of you and your footsteps.

Bucky looks over at you. “What about you?”

“What about me?” you hum, small smile still on your face.

“What would you haunt?

“Ship, I guess,” you reply. “I’ve always wanted to be a pirate.”

“Should be your next job.”

“You gonna come with? We’ll turn it into a vlog.

“Fuck no.”

“Well, thanks for taking the time to really consider it,” you sing, not really offended. “Way to let me down gently, Barnes.”

“What? It’s got nothin’ to do with you.” Bucky clarifies still, pausing before letting out, “I get seasick. Can’t be on water for more than five minutes before I’m throwing up all over the place. You want that in your vlog?”

It’s enough to elicit a laugh from you, that in turn makes the corner of his lip curl.

“We could always–

Right in front of him, something moves darts across the wall at the end of the hall.

It cuts you off mid-sentence too, the both of you glancing at each other before turning towards it again.

Against the glare of your flashlight, another shadow darts across the wall.

“That’s what she was talking about,” you whisper, slightly in disbelief that she wasn't wrong. “Shadow people. Do you think they got to her?”

Bucky rolls his eyes, continuing to walk on ahead.

“Um, hello?” you scramble to catch up with him. “Where is your self preservation?”

“Against what?” he asks stoically.

“That,” you say pointedly at the wall, when another figure darts across the wall and disappears out of sight.

Bucky rolls his eyes. “It’s a shadow, the fuck’s it gonna do?”

“Haven’t you heard of shadow demons? Succumbing to darkness?” you chastise.

Bucky stops walking, standing solidly in the middle of the hallway.

“Okay,” he says, refusing to budge.

The hall goes silent, no movement other than the steady rise and falls of your chest.

You stare at him. “Now what.”

“I'm waiting for them to do something,” he says. “I’m waiting to succumb to the darkness.”

“You’re so annoying,” you bite, dragging him along with you. “And I’m tired, we’ve been walking for like, eight hundred hours. Let’s go.”

“We’ve been here for two hours,” he reminds you, taking a turn into the corner that the shadows disappeared into. “You did this to yourself.”

“Fine, next time I’ll bring an electric scooter with me.” You huff. “And I won’t even let you use it.”

“Where’d Brenda fuckin’ go?” Bucky mumbles, eyes squinting into the darkness to see if there are any clues.

“Where are you guys going?” Someone pipes up from behind you, sending the hairs on his neck up.

The both of you spin around instantly, arms clenched in a fighting stance.

“Sorry, it's a habit to take the scenic route back.” She chuckles, unfazed. “Not a lot to do when you’ve been here so long.”

The both of you lower your hands slowly, letting out an exhale.

“Y’all ready to head out?” she inquires, coolly. “I think it’s time we all get some rest.”

The walk back is relatively quicker, ater she leads you down a path she calls a shortcut.

The only thing that slowls you down are the occasional stops you had to make for her back ache.

Right by the entrance of the hospital, she holds onto the door frame again in the midst of explaining who was haunting the basements.

After a particularly hard exhale and a clamour to stand back up, Bucky awkwardly clears his throat to ask, “Have you tried this stretch?”

“What?” Brenda asks, eyes curious.

“Learnt it in physio. Doesn’t cure it, but it helps,” he explains, craning his neck to the sides, before taking a step ahead towards her.

You watch him in thinly veiled delight as he shows her exactly what joint to bend and in which angle, and the degree to which she had to pivot.

He even uncomfortably guides her shoulders in the strangest yoga session you’d ever witnessed.

“Should help,” Bucky mumbles, taking a step away.

She raises her shoulders and drops it, lips pursuing and bows raising in a look that seems impressed. The small hunch she carried wit her seems to have disappeared too.

“Let’s go,” Bucky doesn’t wait for a thanks or anything, taking a step away from her and towards the exit.

“Now that you’ve fixed her back ache, how do we fix her haunting the place?” you ask lowly.

“She’s not a fuckin’ ghost, she’s fine,” he whispers back.

“Nothing about what she’s said tonight is normal,” you argue.

The night is clear and cool when you step out, the musty scent of the building dissipating almost immediately.

“Just say bye, we’re fuckin’ leaving,” Bucky shoots.

You sigh loudly, giving him a glare at his lack of helpfulness before plastering a smile on your face and turning around.

“Well, thanks for everything, Brenda,” you say, turning around to stick your hand out. “We sure couldn’t have–”

But she’s gone.

“Holy shit,” you say.

Bucky looks over his shoulder at the disturbance, before turning around fully. “Oh, fuck off.”

“I told you she was a ghost,” you gush. “You fixed her back ache and now she has crossed over to the other side.”

“Shut up,” he replies, looking all over the place for a sign of where she could have disappeared to.

“You did it, Bucky, you helped a lonely spirit,” you cheer.

“I did not.”

“Hey!” Someone shouts from afar, commanding your attention to the gate again.

“Not again,” Bucky mumbles, eyes snapping shut.

“More ghosts,” you point out excitedly. “Come on, Charon, ferry those spirits–”

“You ferry your own spirits, I’m going to sleep,” he interjects, fully intending on ignoring the person at the gate and simply getting in the car.

“What are you guys doing here?” A man pants, jogging up to the both of you before Bucky had the time to leave.

“We were just taking a look around,” you say, sticking your hand out, much to Bucky’s displeasure. “We heard the place was haunted.”

“Ah, I see,” he replies, taking in your appearance. “Podcasters?”

“No,” Bucky replies instantly.

“We were just leaving,” you cut in. “We already got a tour by this ghost, and Bucky totally sent her to the afterlife.”

“I did not,” he seethes.

“She disappeared after saying ominous shit this entire evening, what do you call that?” you challenge.

“Going home,” Bucky responds, frustrated that he was clearly not afforded the same privilege.

“Uh–” the guy holds up his finger. “--not to intrude, but you got a tour by a ghost?”

“Yes,” you bubble over with excitement.

“And this ghost… did they have a backache?”

Bucky’s interest piques, the irritation giving way to intrigue .

“You know her?” you puzzle.

“Uh yeah, that’s Brenda,” he admits sheepishly. “She’s very much alive.”

Bucky would have sworn he had never been this elated in his life, but unfortunately he realises very quickly that he simply does not care.

“She said she was a security guard here– wait, who are you?” you tilt your head at him, seemingly not upset at all. It reduces Bucky’s non-existent triumph even more.

“Travis Dowell, Labyrinth Inc. representative,” he says, shaking your hand. “We’re–”

“--the company that bought the place,” you complete, eyebrow raised.

“Yeah.” He nods. “Brenda was a security guard here for nearly thirty years. We had to let go of her when we bought the hospital. We’ve been trying to turn it into an apartment for years, but there’s a lot of red tape that we have to get past because of healthcare reasons.”

“Yeah, she told us that it got bought,” you follow along.

“Hospital was in the worst financial situation possible. There was just no way out.” He shrugs. “But she was super attached to this place. She didn’t take the redevelopment plans well, so she’s taken it upon herself to make sure it never happens, I guess? I don’t know, she spends a lot of time here convincing people that it’s haunted so that people don’t build anything here. She’s got an apartment close by so she knows when someone’s around. You’ll probably find her there, if you want.”

“You guys know about her?” Bucky questions, crease between his eyebrows.

“Uh, yeah, we do,” he says, rubbing the back of his neck. “We sorta ignore her. Her schtick’s annoying, but it’s not the reason we haven’t demolished this place yet. Once all the zoning issues get cleared up, the building’s coming down. And besides, all the PR’s just gonna have people pay a shit ton to stay here. You know, novelty of it being haunted, and all that.”

“How’d you know we were here?” you ask pointedly.

“We’ve set up motion sensors in the place?” he replies. “You may have seen them. The red lights in the operation rooms. We know she takes people there.”

“Oh, that’s what that was,” you turn to Bucky who simply shakes his head lightly.

“Yeah, she really goes the extra mile.” Travis shifts from one leg to the other. “There’s raccoons in the morgue that start running around if she hits the door. What else… oh yeah, she’s made a hole in one of the isolation rooms to make noises through the wall.”

Bucky wonders what will happen of all the footage now that none of it was essentially real. It made sense why she kept trying to find out where the video was going to be posted and how many people were going to view it now, as if a large number of views were going to save her beloved building.

“So you’ll just let her do whatever until the demolition happens?” you question.

“If it gets her to stop vandalising our office downtown.” He shrugs. “It doesn’t make a difference to us either way.”

“Right. So the real horror…” you say. “...is capitalism.”

Travis stares at you, before raising and dropping his shoulders. “Sure.”

“Alright.” You blow out an exhale. “Well, was anything about tonight real?”

“I mean, she really does have back pain,” he adds helpfully.

You turn to Bucky. “Net positive, then.”

Sure. Why the fuck not.

“Okay, Travis, thanks for this. You’ve been an immense help,” you say aloud, hoisting the camera onto your shoulders. “You can watch us on The Graveyard Shift, if we can figure out what to do with all these videos now.”

“Sorry about that,” he replies, shoving his fists into his pocket. “Good night.”

You watch as he turns and jogs away to his car that was parked a bit closer to the gate than yours was.

Bucky plucks the camera off your shoulder and places it under his arm, even though he’s well aware you can carry fifteen of them at once.

“That was fun,” you tell him, seemingly over it already.

“I’m fuckin’ starving,” he replies.

Bucky should be glad then, that he didn’t bother with the children’s ward, if nothing about tonight was real–

“Travis, wait,” you shout all of a sudden. “What about the shadows?”

“What shadows?” he calls back, confused.

“The shadow people moving across the hall from the isolation room?”

He raises his eyebrows. “We haven't heard reports of that.”

“Fuck’s sake,” Bucky mumbles.

“Hell yeah,” you reply, knocking into his shoulder. “Haunted hospital, baby.”

When you walk into the dining room, you don’t really expect anyone to be there that late at night.

But fiery red hair pulled into a ponytail and an oversized t-shirt perched at the kitchen counter catches you off guard, dulling the arguing between you and Bucky as you argue the logistics of Brenda having a hand in the shadow demons.

“Took you guys long enough,” Nat keeps her mug down on the counter before hopping off the chair. You note that it’s the same one you got her a few weeks ago from the flea market, the blue ceramic one.

“Oh, hi!” you smile wide, when she pulls you into a hug. “I thought you were in Lagos.”

“I was,” she replies, pulling away. “Got done early.”

“Of course you did. Overachiever.”

In the end of the common room, Bucky can hear the faint sounds of late night infomercials play through the TV. Clint’s legs hung off the couch as he lay snoring in front of it, blanket dropped on the floor in a heap.

“Hot chocolate?” she offers.

“I’m good, we went to the drive-through before coming back.” You beckon with your shoulder towards Bucky.

She finally turns to him. “Hey.”

Bucky gives her a curt nod, glad that she’s back safe.

“Why were you out so late?” She gives him a onceover, before raising an eyebrow. “Together.”

“Hospital date.”

“Video shoot,” he says at the same time, glaring at you. You shrug.

Nat’s lip trails up into a smirk. “Put on your big boy pants and finally admit your crush?”

Bucky drags a palm down his face. “I do not have a crush.”

“If you say so,” she concedes innocently, eyeing him over the rim of her hot chocolate.

“Are you all in on this? Do you have a quota to reach?” he groans. “Why’s everyone asking me this?”

“Who is ‘everyone’?” you sound delighted.

“If you don’t want people to call you out on our shit, maybe don’t walk around with heart eyes,” Nat comments.

Buck’s look is ice cold, but Nat just gives him a wink when you laugh.

“Hey, I needed to talk to you about something.” She turns to you. “You free for a second?”

“Always,” you reply in earnest.

Nat leads you a few steps away, hand on your shoulder.

Bucky takes his seat at the counter, stealing a sip from Nat’s mug. Of course, it was fantastic. Overachiever.

He tunes out intentionally, focusing on the fact that Clint was splayed out on the couch with the TV on a low volume. He knows for a fact the blonde was asleep, and probably would wake up with the worst neck pain in his life, but this was the life he chose.

After watching Clint nearly fall off the couch twice, he looks away, not intending on prying on your conversation but vaguely watching the interaction out of the corner of his eye.

He frowns at what he sees. Nat’s face has turned solemn while she talks to you in hushed tones. Your eyebrows were pulled together, arms crossed over your chest.

Bucky feels a shift in the air, but he’s not sure what exactly has gone down.

Nat finally tells you something surely, and you nod. She cups the side of your face and you force out a smile at her, before her hand drops.

The both of you make your way back to him. He turns his gaze back to the counter.

“You owe me a hot chocolate,” Nat tells him, before giving him a quick kiss on the temple and stealing her cup right back.

“I barely drank any,” he retorts, eyes still trained on you.

The TV clicks off and she drags a half asleep Clint back down the hall to his bedroom while the man rubbed at his shoulders, trailing behind her obediently.

Meanwhile, you grab a glass of water from the tap, drinking it slowly as you head towards the elevator.

“G’night, Buck,” you tell him, passing by him.

“Hold on,” he says, voice less gruff than before as he watches you, face tight, “What’s going on?

You observe him for a few long seconds, but he gets the sense you aren’t exactly looking at him. Your eyes are slightly glazed over, and your mind is… elsewhere.

“What do you do when people refuse to let go of something you’ve already escaped?” you ask finally.

“What do you mean?” Bucky’s eyebrows knit together tighter.

“Do you feel like everyone’s eyes are on you?” you say, voice strange. “Like there’s nowhere to go?”

“Where is this coming from? What’d Nat tell you?”

It seems to snap you out of whatever funk you were in, at least partially. “It’s probably nothing.”

His frown only deepens. “Is someone threatening you?”

“No, nothing like that.” You shake your head. “Don’t worry about it. It’s gonna be fine.”

Bucky stares after you as you press the button to the elevator. He isn’t really sure what to make of the what you just shared. He isn’t even sure he should ask Nat about it later on considering that she didn’t want him listening in now.

He watches the light above the elevator light up before a ding sounds through.

“Just so you know–”

Bucky’s eyes snap back to you, one step in the elevator.

“I had a codename, too,” you tell him. “I just never liked it.”

Bucky is only left staring as you disappear into the elevator, leaving him in silence.

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Next part

#bucky x reader #bucky barnes x reader #mcu fic #bucky fic #bucky barnes fic #bucky fluff #bucky barnes fluff #bucky angst #bucky barnes angst #unsolved fic #winter soldier x reader

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ihazyourkitty · 21 days ago

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I really try to avoid fact checking people in public comment sections on the internet, but sadly this time I couldn't resist.

There was a reel on Facebook explaining the "sad" reason why cetaceans in human care often receive ice. It's because they're given "dead fish" you see, and these frozen thawed fish contain less moisture than the live fish they eat in the wild, so the ice helps prevent dehydration.

First of all, this is half true. The other half is that many cetaceans just love getting ice.

Supplemental hydration can also include gelatin and squid. The latter two are not unique to cetaceans btw. Squid and specially formulated gelatin based foods are also used in many fish diets in part to provide additional moisture. They also count as enrichment, depending on the context.

In any event, this creator thinks it's sad... that caretakers are providing their dolphins additional hydration? What, does he also think it's sad that they get vitamins? Reptile keepers regularly dust their animals' food with calcium to make sure they don't get metabolic bone disease. Is that also sad? These things are standard zoological practices, not signs of neglect. Wouldn't it be sadder if they didn't do that?

(Reason #423 why framing matters).

"But it's not natural!"

Neither is running on a treadmill, but that doesn't mean it's bad for you. Also, I'm pretty sure ICE is one of the most natural things you could use....

"Well why can't they just give them live fish!?"

Because the logistics of sustaining a live colony for such a purpose would be an expensive nightmare. Do you know how many pounds of fish these animals need to eat in a day? Using them as an occasional form of enrichment might be feasible, but on the regular? Just. No! Tell me you don't know how fish care works without telling me you don't know how fish care works!

It's cruel to the fish, for the same reason that it's cruel to feed snakes live food (assuming they aren't picky eaters). Fish are not just props, they are live animals that can experience stress and pain!

Freezing the fish helps keep it safe to eat.

"Why not just release them back into the wild?"

Because that would also be cruel since they wouldn't know how to survive. Next question.

"How do they get dehydrated when they live in water!?"

Oh man. Oh man oh man.

Cetaceans get most of their hydration from their diet. A quick google search indicted that they can drink some salt water, though I don't know how true that is, and to be clear, their kidneys are likely much more efficient at filtering out salt than ours (someone who knows more about this, please feel free to correct me). Regardless, most of their hydration comes from their food. Lack of food leads to dehydration, both in captivity and in the wild.

But there was one guy who said that dolphins in captivity can't drink the water because it's chlorinated. This is not true. The residual amounts of chlorine left after their water passes through filtration is no higher than what is in your tap water.

(Btw, this is another reason why live fish aren't typically used, because you don't house fish in systems that use chlorine, even in small amounts).

When I pointed this out to the guy, his response was that "most of their diet contains water from the exact same source."

To his credit, he did back down when I pointed out that this was wrong. But come my friends! As a fish person, let me explain to you why this is not correct!

Fish blood chemistry is not the same as the ambient water around them. They would not be able to maintain homeostasis otherwise. You see, their gills and kidneys help them osmoregulate.

Freshwater fish blood contains more salts than the surrounding freshwater, which means the via osmosis, water will enter the body, and unless they can compensate for this, the fish will swell up like a balloon, lose necessary salts, and basically drown. So what do they do? Their kidneys produce large amounts of dilute urine get rid of this extra water. Meanwhile, chloride cells in their gills take up ions from the water to transport into their blood.

Saltwater fish, however, have the opposite problem. Their blood has less salts than the surrounding water, so they need to get rid of extra salt. How? Well, they actually do drink the saltwater, and then their kidneys help filter out the extra salt. They basically produce very concentrated urine. But the kidneys cannot do this alone, so the chloride cells in their gills also help by basically working in reverse. They move extra ions out of the blood.

Elasmobranchs, crustaceans, mollusks and other marine mammals that may also make up some cetacean diets will have their own methods of osmoregulation.

All of this is to say, no, eating saltwater animals does not mean you're literally consuming ocean water, as these organisms have specific mechanisms for filtering out the excess salts.

This is, btw, why you can't just put a freshwater fish in saltwater or vice versa. They will die. Nor is this unique to fish, most organisms adapted for one environment don't thrive in the other.* Case in point: we cannot drink salt water, because our kidneys cannot handle that.

But some animals can! Take the salmon for instance. They hatch in freshwater environments, then move to saltwater, and then back when spawning season comes. How do they do this? Well, there are specific environmental/developmental triggers that cause their bodies to start osmoregulating in reverse. This does not happen instantaneously, however. They need time to adjust. They will migrate to brackish water, and allow their bodies a few days to adjust before continuing.

Some species of fish have higher tolerances for wider ranges of salinity/total dissolved solids (TDS) than others. Fluctuating these levels can actually trigger spawning in some species too! Discus, for instance, can be maintained in relatively harder freshwater than what they'd experience in the wild. But for breeding purposes, it's recommended to use softer water with lower a TDS. Given that discus can be more finicky, however, any of these adjustments should be made gradually.

On the other hand, there might be another species where a more sudden change is beneficial. Tropical fish native to floodplains that will experience sudden onsets of flooding from the rainy season, for instance, may need precisely that sudden rush of freshwater with lower pH and TDS to trigger spawning. Even if spawning isn't the end goal, simulating these seasonal fluctuations can be a very effective form of naturalistic enrichment!

....Oh dear, I went on a very nerdy tangent, because SCIENCE!!!! Enjoy.

*this can actually be taken advantage of in certain treatment contexts! Saltwater aquarists will sometimes do what is called a "freshwater dip", where the saltwater fish is very briefly immersed in freshwater to help rid them of harmful external parasites or bacteria. Usually, it's used when fish are first brought into quarantine. It's not 100% effective on its own, but it's one of the many tools in an aquarist's arsenal. Oh! This can also be used on sea turtles in some rescue situations! Again... SCIENCE!!! >:D

#cetaceans #animal welfare #fish #fish science #fish are cool #stop dissing my fish!!!#their welfare matters too!#correcting misinformation #I'm more familiar with freshwater than saltwater fish #so any saltwater aquarists #please feel free to chime in and correct me on anything #and dolphin keepers #please correct me as well as I'm not a cetacean expert

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letherightonein · 23 hours ago

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Correct response: men are uglier than women

I have seen this graph more than two dozen times in the last week. The first time I saw it was about five years ago, but people seemed fascinated by it long before that. I remember what I thought back then: “Duh? Yes, and? Have you seen men? Have you seen women?” But no one obsessed with this graph seems to share my impression, not even its very author. Christian Rudder says in his book Dataclysm:

Sex appeal isn’t something commonly quantified like this, so let me put it in a more familiar context: translate this plot to IQ, and you have a world where the women think 58 percent of men are brain damaged.

Bryan also echoes this sentiment in his article:

The OkCupid results are far from unique. But the graphs are stark enough to inspire mutual anger. Common angry male reactions include: “Women have absurdly unrealistic standards” as well as “Women are just cruel.” Common angry female responses include: “It’s not our fault that most men suck” and “Why should I settle?

It’s not that women are telling a hard truth about men; it’s that they perceive reality in the wrong way. Even though no one, not even Rudder, provides an 'objective' measure of men’s attractiveness and actually proves that women are wrong. Somehow, people assume that men and women are the same when it comes to facial attractiveness. Therefore, men’s ratings should also follow a bell curve.

Nevertheless, when men and women are asked about both their own and the opposite sex’s attractiveness, both groups agree that women are more attractive than men. This gives us another example of a male-driven narrative fueled by relentless projection onto the opposite sex. Men are the ones who overestimate themselves the most, not women.

As Aella explains in one of her articles:

Women’s self-rating for their average photo was 6.2, but men rated those photos, on average, 5.0 - a gap of 1.2. For women’s best photos (self rated 7.3), men rated those 5.3, for a gap of 2.0 points. Men, with a self-rating for their avg photo of 6.3, got rated by women as 4.4, meaning they were off by 1.9. Their best photo was even worse - that 7.3 self perception got knocked down to 4.6 by women raters, for a staggering gap of 2.7.

I also question the uniqueness of the OKCupid graph, because every person who wants to point out this divergence between the sexes seems unable to back up this 'ugly truth' with another source that provides the same results. In my experience, when this 'truth' is explained, that ten-year-old graph is brought up for the thousandth time, with no other source provided—almost as if it were the only one.

And most of the time, it’s assumed to be self-explanatory. When discussing men approaching women in person, this graph is presented without any additional commentary. It doesn’t mention rejection, nor does it discuss whom women partner with. It’s just... there, and you’re expected to conclude the only possible truth: women are wrong/delusional, and most men are incels/single/rejected/buzzword-of-the-moment because of them. Women should lower their standards and control their 'ick.’

Just like Bryan says in his article:

The typical man disgusts the typical woman. You can expand this to: The median man moderately disgusts the typical woman, and the bottom quarter of men strongly disgust the typical woman (…) The good news: Once we all accept these ugly truths, we can replace fruitless anger with mutual understanding and empathy (…) Men should stop taking rejection so personally. When the typical women rejects you, the problem isn’t so much that she finds you unappealing. The problem is that the typical woman finds almost all men unappealing (…) Women should stop taking unwanted advances so personally. When the typical man pesters you, the problem isn’t so much that he refuses to see that you’re out of his league. The problem is that almost all women think they’re out of his league (…)

Yep, always the same ol’ story. But with a particular twist this time:

(…) Most women eventually accept a guy who isn’t visibly attractive. Much of the reason is that superficially unappealing guys win them over with charm, humor, and devotion. So instead of crinkling your nose in physical disgust, it pays to be on the look-out for the winning psychological traits of charm, humor, and devotion.

The real good news here is that women don’t have to read Bryan’s advice. The same OKCupid data shows that women send messages to 'below average' men. Women have seen men their entire lives, and by default, they know they can’t expect a Ryan Gosling or a Jeremy Meeks for a boyfriend. That possibility doesn’t even cross their minds. I would say their expectation is to be the prettiest one in the couple, since beauty is associated with femininity and women’s role in heterosexual relationships.Women rate men below the midpoint of the scale and send messages to men below the midpoint of the scale. Shocking.

But even when it’s not hard at all to find this graph, and how this ‘discovery’ of men being uglier is not new, the speculations about what can explain women’s 'bad judgment' don’t take long to appear. Bryan continues by saying:

Since women’s maximum reproductive capacity is strictly limited, they’re evolved to be hypergamous, with a strong preference for mating with the best of the best.

Hypergamy, the act of marrying someone with more income or more education than yourself, is brought up with a 'new' definition, and it is stated that women have a 'strong preference for mating with the best of the best.' The way people like Bryan reconcile that idea with the reality that, every year, the majority of men are having sex, and how any mission to touch grass ends up showing normal people dating each other, will always be a mystery to me.

#radblr #radical feminist community #radical feminist safe #radical feminists do interact #radical feminism #radical feminists do touch #male bullshit stories #radical feminist theory

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jaal-ama-daravv · 2 months ago

Note

I saw this and thought of you. Thoughts?

https://www.tumblr.com/chantrytears/767433095927463939?source=share

Link to Post - Courtesy of @chantrytears

Harding & Emmrich - Moving Too Fast Banter Dissection

Love you for thinking of me and tagging me in this because this banter is VITAL to Emmrich x Rook's dynamic.

The jist of the dialogue banter being discussed is as follows:

Emmrich gave Harding an item that didn't work, Emmrich states that he has been distracted. Harding: "What with you and Rook becoming..." Emmrich: "You noticed..?" Harding: "I'm sure you two getting together is... only Rook's kind of, younger...so" Emmrich: "It's not - What are you getting at harding?" Harding: "You two are sort of moving quickly.." Emmrich: "May we change topics?"

To initially answer this in relation to the OP post, I believe the 'moving quickly' is in relation to their infatuation and connection to eachother. This is particularly noticeable with a Mourn Watch Rook, however, it's still noticeable in another Rook. I note that with a MW Rook, Harding is privy to one of the very first conversations you can have with Emmrich in the Lighthouse. Where all three discuss Necromancy and the burial process, and Harding states that Rook sounds 'fancier' when discussing these topics (linked). This, for me, was Harding's first observation at the type of connection MW Rook and Emmrich share - a deep and unbridabled passion. Possibly leading to Hardings disposition on their eventual relationship.

Back to the moving quickly context, codex entries, letters, or bits of pieces of eachother's belongings in eachothers rooms would've been a lovely addition. However, I will work with what is provided. By the time this conversation from Harding is triggered, Emmrich and Rook have shown an interest in eachother and have opened up to one another. They share a bond, a great bond. And if you've read my dissections, you'll know that this bond reaches beyond the veil to other worlds.

Let us keep in mind that Emmrich has yearned for this type of love since he was a child. It manifested into craving affection, then enduring love, then marriage throughout his life. However, he never found it. So he gave up. He gave up and went in search of another purpose - Lichdom. Although this post focuses on the mortal path - Lichdom was always apart of Emmrich's plan. It is only that he has found either the love of his life with Rook or found the family he so desperately craved with the Veilguard - that he would be willing to let go of his dream of lichdom, for his other dream of untold love. Backed by a banter dialogue with Davrin, here.

Additionally, with that information - Emmrich is of course absoloutley infatuated and obsessed with Rook. Not only by who they are, but what they represent, to him. Love, enduring affection, companionship, potential marriage. Everything that Emmrich has dreamed of. Marriage was also a topic of discussion between Harding and Emmrich, find it here.

These two were most likely sneaking kisses, and holding hands in his library and the balcony throughout our travels during Veilguard. They are very much *heart eyes* at eachother, and that is obvious from the first quest of Emmrichs. I'm not surprised that the discourse of them moving too fast came up, because to others, they most likely were very affectionate, fast. And quite frankly, I'm a fan of it. I love two insane, soul bound, in love freaks who just go for it because they recognise eachothers souls. The two are made for eachother.

In saying that, let's think back to the argument scene, and his reaction, Rook's reaction. The reaction of two people, so scared to lose eachother, lose their future, their plans, their sought after love. After only just finding eachother. Emmrich is torn apart on the inside because what if he loses his dream? The two of them, are in love, almost immediately. Hence, moving fast.

Additinally, Emmrich does not want the conversation to continue. He's straight up, doesn't want someone's opinion. What would they know?

Don't worry - I have more, because there is more. This is actually a 3 part banter dialogue. [LINK HERE] Lets continue -

Harding: "Emmrich, about earlier...when I brought up you and Rook being together Emmrich: "Yes..?" Harding: "Look, you were in a crypt with all your dusty books and suddenly Rook bursts into your own life and.." Emmrich: "I keep my books pristine!" Harding: "I get it. Rook's, Rook. Wild and eager. Just whisking you away and now it's all candles and showers of ghost petals! It's great, but, you've also been kind of pre-occupied, ya know...mopey." Emmrich: "Mopey?!"

Emmrich has a tendency to be very short and aloof when he is defensive. Harding calls Emmrich mopey after Rook entering his life and they get close.

Now, part 3 -

Emmrich: "I am not, mopey, Harding." (annoyed) Harding: "Uh, yeah you are. You're so mopey you misalign the spirit ether- what's it, twice this week, and your skull thing is crooked! Emmrich: "My collar pin is perfectly straight." Emmrich: "Ohh (deep sigh), I do worry sometimes about what people might think about Rook and myself. Given our ages. Not to mention the spectre of acting like a besotted fool." Harding: "You're not...that bad. My Ma always says, it's fun to go at full gallop, but you still have to keep your eyes open, tree branches and stuff." Emmrich: "I will, thank you Lace."

Emmrich, is in love. A distracted, can't stop thinking about the love of my life, in love man. There is no other way to put it. He calls him self a besotted fool because he is a FOOL in love - at his age, he likely feels some shame around it. A 50 year old man, acting like a teenage boy in love. Hence, and as @chantrytears and I have stated, his cool, calm, confident exterior is a front. He doesn't want to come accross as a besotted fool, and because we play as Rook, we won't see it from our perspective until he starts to crack during the argument and afterwards.

His besotedness is evident in the banter dialogue throughout the game, (which is mainly with Harding where you find out about most of his 'endearment' past). He reveals he wanted to be married when he was younger, he gave up, 'until rook' with whom he now consider close family. The crooked skelton pin. Forgetting to align items correctly. Hell I know I've thought about fictional men and at times people where I forget to do thins, or do things wrong, because you're well, obsessed.

All in all. Yeah they may of moved fast, but not in our realities sense, in the emotional sense. and honestly? I love them for it. Still not a fan of any of Harding's dialogue here, but grateful we get to see Emmrich call himself a fool for being in love.

*drops mic*

#in love does not begin to describe these two #destined? no #eternally bound? maybe #they are inevitable #thank you for asking <3 #asks #maeve ingellvar #emmrich #emmrich volkarin #emmrich romance #emmrich dragon age #rook x emmrich #dragon age #dragon age the veilguard #datv #da4 #datv spoilers #veilguard spoilers

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vidavalor · 1 year ago

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Crepes: The 1.01 sex meta thing

Alright, my romantic and horny murder hornet friends...

...come and get your very requested 1.01-scene(s)-that-shows-that-Crowley-and-Aziraphale-are-lovers sex meta thing.

We'll be getting a bit blush-inducing NSFW under the cut so keep that in mind...

As Fraulein Maria suggests: Let's start at the very beginning... a very good place to start... when you read, you begin with: A, B, C...

...when you speak Ineffable Husbands, the show tells us, you begin with: lunch, alcohol, and crepes...

We're going to do this semi-glossary-style, since those have proven popular and it works well for this. There are some very brief mentions of Satan's attacks on Crowley, for those that would like to know of that ahead of time. Other than that, I don't think any other trigger warnings apply.

"Gentlemen, in your role as the audience, could you, perhaps, give us more to work with?" -- William Shakespeare, 1601, meta-ing for the writers and performers of Good Omens, requesting us to dive a little deeper.

Temptation accomplished.

~~~

Secret language. A language spoken by secret agents for the purpose of keeping the full, true meaning of their conversation hidden by those who might be observing them. Comprised of code words and phrases that contain other layers of meaning beneath the more easily understood surface layer. Difficult-- and, at times, impossible-- for those who do not speak the language to understand it without a key that unlocks at least one word of the language, revealing the hidden conversation beneath the surface.

Key. Additional context that reveals hidden meaning in a secret language by providing understanding of other layers of meaning beneath the surface in a conversation between secret agents.

Example: some bleating goats in 2500 B.C. illustrating for Aziraphale via additional information and context the true meaning of Crowley's words in the scene. Most keys in Good Omens are separate scenes; this one is an exception because it's the origins of their secret language in the first place. This is also a partner scene to the "no nightingales" moment in 2.06.

Partner scene(s). In Good Omens, a scene or scenes which act as keys to other scene or scenes, providing information and context necessary to fully understand the initial scene, which is usually one we saw earlier in the story.

Example: The Bullet Catch scenes in The Blitz, Part 2 in S2 adding layers of context and meaning to both Crowley and Aziraphale with the paintball gun and Crowley giving the office workers miraculous escapes from death at Tadfield Manor in S1.

Crowley and Aziraphale. Supernatural secret agents of sorts, introduced to us that way by our narrator, God, who points out their penchant for meeting alongside human secret agents in St. James Park. They speak in a secret language that we'll call in this meta Ineffable Husbands Speak that only they-- and God-- speak fluently... but for which Good Omens has been slowing giving us enough information to learn how to speak as well.

Code words. Often neutral-sounding and very common words--by design-- in order to keep the hidden meanings of the secret language secret from outside observers by making it sound like everyday conversation. As a result, code words have dual layers of meaning: they refer to a literal thing on the surface level but also have a secondary meaning beneath that within the secret language.

Example, in Ineffable Husbands Speak: "dining at The Ritz."

To "dine at The Ritz" (in Ineffable Husbands Speak). Surface, literal level: to eat a meal at the restaurant at The Ritz-Carlton, London. Hidden level: to take steps towards being less secretive about their relationship and to live more of a life that is theirs together.

Code phrase/cypher. A phrase that sounds as if it has a single, understood meaning on the surface but is comprised of code words put together to convey a meaning that is hidden from anyone who might hear the phrase but does not speak the secret language. Impossible to understand unless you either created the language or were given instructions on how to speak it... unless you can come into possession of a key that can unlock it.

If spoken to someone who does not have a key to understanding it, they might possibly be able to recognize that you are speaking in a kind of code... but they will not have the understanding of the double meanings of the keywords, nor the context required, to figure out just what the hell you're talking about.

Example: "The clarinet can make beautiful music."

Good Omens included this scene right near the start of the season in 2.01 in which both Crowley and we the audience have no idea what Agent Fuzuli is *really* saying, even if his sentence makes technical, if not really contextual, sense. We can recognize from his over-the-top obvious spy-speak that he is speaking in code. They did so to highlight the existence of hidden language in the show and how important it is to unlocking more layers of meaning in the story.

Neither we nor Crowley expressly need to decode this particular sentence to understand what's happening in the story of Good Omens because Good Omens is not about the romance of Agent Fuzuli and his new paramour, the Azerbaijani Sector Chief. (Cupid!Crowley really out here matchmaking everyone in sight in S2 lol.) If it were, we would be needing to figure out what this clarinet and its beautiful music are all about. Instead, though, the show is suggesting that hidden language and decoding it is paramount-- but we should focus a bit more on the secret language of our main characters Crowley and Aziraphale instead.

Sexual innuendo/sexual euphemism: A kind of secret language in which something that is not inherently sexual is given a sexual connotation. Relies heavily on suggestive tone and context. Often full of in-jokes. Often done to soften talk of sex-- and, just as often, paradoxically, tends to make things actually a bit sexier. Relies on a sense of humor and so increases a sense of playfulness and fun between partners. Is flirting by way of creating a secret language out of innuendo.

Example: To "mend his shirt" in the (code-named) Mrs. Sandwich's sexually euphemistic speak, as brought on by Aziraphale's 19th century-era magic during The Ball, is to give a blowj-- well, actually, here: Crowley will define the innuendo for us through the use of partner scenes...

"Fine *stable* of ladies"... the horse statue where Crowley keeps his glasses in the bookshop... mending Aziraphale's shirt in a way evocative of mending Aziraphale's shirt...

Mrs. Sandwich. A "seamstress." Not her real name. A walking, talking intersection of secret language, innuendo and sex in Good Omens, whose name and the content of her scenes help us confirm we're on the right track in decoding Ineffable Husbands Speak.

Sandwiches. Popular, common food that can be eaten anytime during the day but are most commonly associated with lunch.

Lunch. Midday meal. What Aziraphale offers to buy Crowley in thanks for Crowley rescuing him from The Bastille in the Paris, 1793 scene.

Paris, 1793/The Bastille. Partner scene that acts as the key to the 1.01 scene-- and its subsequent scenes-- that shows the nature of Crowley and Aziraphale's relationship through their use of secret language.

Let's Have Lunch. The 1.01 scene that, when unlocked using its partner scene of 1.03's Paris, 1793 scene, reveals that Crowley and Aziraphale are lovers. How so? Read on. :)

Armageddon: Round One. The end of the world and what Crowley and Aziraphale both separately learn is in motion in 2008 in 1.01. They meet the following day to discuss it and the show tells us then, at the start of the story, exactly one bullet point on their shared timeline-- the very first thing we ever learn about the entire 6,004 years that they have been living on Earth together since the last time we saw them together in Eden. Something important enough that it received its own partner scene in the 1.03 Cold Open basically entirely to help decode this scene in 1.01-- and re-contextualize the 2008 minisode (and a lot more) as a result.

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

As Crowley & Aziraphale head through the park and argue over whether or not to stop Armageddon, they eventually reach the spot on the side street where Crowley has parked The Bentley. This brings them to not just a conversational impasse but a physical one-- there's nowhere left to walk because they're now at the car and this is when Crowley says:

"Well, let's have lunch, hmm? I still owe you one from..." At this point, we're too busy being charmed by this vintage-y angel and this rock star demon who lunch together on Earth arguing over Armageddon to barely notice the content of this scene and that might be by design. It is sandwiched between two other scenes, both of which understandably get a lot more attention: the "celestial harmonies" conversation on the bench in St. James Park and the kinky lunch at what we'll later learn is The Ritz. ("Lunch" in Ineffable Husbands Speak is not *just* the food kinky lunch, as we'll get into below.)

We also don't yet have the key the first time we watch this scene to decode it because we aren't given that by Good Omens until the 1.03 Cold Open and its Paris, 1793 scene. We can pick up on some vibes in this scene in 1.01 but unless we use the Paris, 1793 scene to fully decode Let's Have Lunch in 1.01, we aren't actually understanding what they are saying and, as Fraulein Greta Kleinschmidt would say, we must know what they are saying... (since we're all not Nazi Zombies, we'll be able to actually figure it out...) :)

...but we do now have the 1.03 Paris, 1793 scene so now, let's check out the moment this scene becomes, um, important-- and that is Aziraphale's response to Crowley's invitation to lunch:

Oh, what's this now...? Crowley owes you lunch from *when,* Aziraphale? From "Paris, 1793", did you say...?!

You mean from the time that you dragged Crowley to The Bastille to save you from a situation you put yourself in and could get yourself out of the entire time because you have a Neil Gaiman-Ask-confirmed, canonical thing for him rescuing you (and because, as a fun S2 partner scene suggests, rescuing you always does make him so happy) and you were so very grateful for the rescue that you offered *to buy him lunch*?! A lunch that this scene in 2008 will confirm you went and had together? A lunch that we had *an entire, separate scene about* in the middle of the 1.03 Cold Open-- alongside The Arrangement and the 1862 breakup and 1941 and the 1967 holy water scene, in terms of importance to understanding this relationship from the show's perspective? THAT LUNCH?! lol

Paris, 1793. The ONE TIME IN THE ENTIRE HISTORY OF THIS RELATIONSHIP lol that it can be safely said that Crowley absolutely, 150%, *most definitely does not owe Aziraphale lunch*. The time we had a whole extra scene over, just to confirm how much Crowley does not owe Aziraphale lunch from this one time in Paris in 1793...

Well, well, well... seems we have ourselves a key. :)

Lunch. Code word in Ineffable Husbands Speak. A code word that, when unlocked, helps to unlock additional language, as we will see.

If Aziraphale's reply to Crowley's lunch invitation is to say the one time in history from which we know Crowley doesn't owe Aziraphale lunch, then Aziraphale's reply is really in response to the hidden, second layer of meaning beneath the lunch invitation, which means that Crowley isn't just asking Aziraphale if he wants to go grab the midday meal together and Aziraphale is more than aware of that. As we will see from the dialogue below, this suggestion that they have lunch on the surface level is also, on the hidden language level, a suggestion that they have sex.

So, ok, let's try this 1.01 scene again, now that we've started to factor in the information we have from its 'Paris, 1793' partner scene from 1.03...

What Aziraphale Is *Not* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to time travel to The French Revolution for lunch; that he would like to go to Paris in the present for lunch; that he wants to go to their favorite creperie; that he wants to go get himself locked up in a maximum security prison so Crowley can come rescue him...

What Aziraphale *Is* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to go to lunch and also that he would like to go to *lunch*-- which is to say that he's in agreement that sex sounds perfect-- and that what he "wants for lunch" is a repeat of how they made love in Paris in 1793.

Let's repeat that because mmhmm lol...

Sitting there in the middle of the second half of Crowley and Aziraphale's second scene in person together, in the middle of the first episode of the show, is Aziraphale recounting sex he and Crowley had over 200 years prior to when this scene is taking place in response to Crowley's suggestion that they shake off the Armageddon blues by sexy lunching their way to spending the night in Aziraphale's bed.

This conversation on the surface is about going to lunch and they are very funny with the literal part of their secret language, as they will actually go to lunch, as we know-- and during that lunch, Crowley will make a joke about the dual layers of meaning of their language when defining the next word in their language for us, which we will get to in a moment. For now, though, let's just go back to the "let's have lunch" scene here and look at the rest of it now that we can understand it on both levels of meaning...

"Well, let's have lunch, hmm? I still owe you one from..." Crowley does not actually owe Aziraphale lunch; this is a way to throw the decisions to him, keeping it sounding like they are just talking about eating lunch-the-midday-meal on the surface when we now know that it's more than that. He trails off and both verbally and non-verbally indicates a whole "you tell me" attitude, having offered up the idea and now giving the choice to Aziraphale. (It's not a magical influence "you tell me" like he did with Sitis, just a verbal ellipsis/non-verbal head shake that hands the conversation over to Aziraphale.) As a result of this and their responses in the rest of the scene, this becomes:

"Well, let's have lunch, hmm? I still owe you one from..." Well, let's have sex, hmm? Let's do our kinky lunch thing. Tell me what you want for later and we'll do that. Whatever you want. Armageddon already fucked up our lunchy dinner that we were supposed to sneak out to have at the fascinating little sushi restaurant where they know you last night-- it can go fuck itself for the afternoon. We're both depressed and tired. Eleven years left. We're almost out of time. I just want to be close to you. Let's have lunch.

"Paris. 1793." I could eat. I never can resist you, you know that. Remember Paris? After The Bastille? I'd like that.

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

Someone had a very nice time in Paris in 1793 if that little smile and that look and the little "yessss" are any indication. Crowley is down with revisiting The French Revolution and after this, they're both just heading to The Bentley as they continue talking because lunch is on. But why are we even talking about Paris 1793 when we have all seen this episode and know they aren't about to instantly drive back to the bookshop and get their Bastille on?

Anticipatory kink. When partners arrange to have sex in the short term but not immediately and spend the interim time discussing the sex they plan to have as a way of arousing one another over anticipation of the future lovemaking. A form of psychological edging/delayed pleasure. Fancy way of saying 'teasing the fuck out of each other' lol.

The first part of lunch for Crowley and Aziraphale is deciding what's for lunch-- before they go to have lunch-as-in-some-food-- even if part of lunching is that they aren't going to have sex for hours still to come. In addition to the anticipatory element, it's just fun to talk to your partner about sex and the way they do so also has them euphemistically refer back to past times they made love as a way of turning each other on with the memories of those past encounters-- so, doubly fun.

"Yessss. The Reign of Terror. Was that one of ours or one of yours?" Crowley's response to "Paris, 1793." He says 'The Reign of Terror' a little sarcastically, implying that while that is the historical name for the era, he and Aziraphale were actually pretty happy during it, which goes along with what we saw in The Bastille scene. On the surface, though, Crowley and Aziraphale are still attempting to make it sound like they're talking about The Reign of Terror so, technically, "was that one of ours or one of yours?" is a question that is supposed to be about who (Heaven? Hell?) was responsible for The French Revolution but oh, that Paris, 1793 scene is a good partner scene as we know the answer to this question, too...

The French Revolution. Not Crowley's demonic work. The humans thought it up themselves. Established in the Paris, 1793 scene, to help us better understand this bit of the Let's Have Lunch scene.

"Was that one of ours or one of yours?" Look at the wording of that. By definition, since Crowley is speaking to Aziraphale, the "ours" has to include Aziraphale. It's a subtle but present indicator that this isn't entirely smooth language on the surface here because it's accounting for two layers of meaning at once. If it is just about who is responsible for The French Revolution, the sentence doesn't actually make sense but that's because it's designed to sound like something of a casual reply to the surface question about The French Revolution but this conversation is now happening more on the second, hidden level and there, it really means:

We had all the sex in Paris in 1793, angel. Talk to me more about what's got you all hot for The Bastille. I remember all of it but want to know what's lighting you up here so to keep us talking about it, I'll start throwing out some options from Paris under the guise of pretending I'm talking about who is responsible for The French Revolution. Was that one of ours or one of yours? Meaning: do you want to fuck each other later or am I fucking you? By tossing these both out as options I'm obviously also saying that, if you're up for it, I'm in the mood for "ours". I currently have both the need to be inside you *and* the need to get done into next Thursday right now...

"Can't recall." Aziraphale's response to "one of ours or one of yours?" A blatant lie on every level lol. He remembers that the humans were responsible for The French Revolution and, based on how quickly he reached for it when asked what he wanted for lunch on an especially harrowing day, Aziraphale remembers every damn minute of the two of them in bed in Paris in 1793. He knows as much as Crowley what they got up to. "Can't recall" is a reply designed to sound like he can't remember who is responsible for The French Revolution on the surface level but answers Crowley's question on the hidden language level by using "can't recall" to signal that he doesn't have a preference. It's whatever you would like is fine with me. He's definitely noted the "ours" request, though, as we'll see later on.

But Aziraphale also still needs to answer Crowley's underlying question of what's he's wanting that's got him all hot and he keeps the euphemistic, hidden sex chat going by telling Crowley what he's picturing from Paris exactly that he wants later on:

"We had crepes."

Did Crowley and Aziraphale go to lunch-the-midday-meal in Paris after Crowley rescued Aziraphale from The Bastille and have crepes-the-food for lunch? They absolutely did. Lunch-the-midday-meal (or, really, *any* food/meal that is probably not breakfast, which they seem to had yet to sort out by S2 because of Crowley not staying the night) is part of lunch. But we know that this conversation in this scene in 2008 is not really about lunch-the-meal so crepes is our next bit of Ineffable Husbands vocabulary. We can tell at this point that this is a sexual euphemism. That The Guardian of the Eastern Gate and The Serpent of Eden use types of food as euphemisms for types of sex because of course they do lol...

Does the show get into what, exactly, "crepes" are in Ineffable Husbands Speak? Oh yeah. They do lol. But it's mostly on the other side of kinky lunch so we're going to come back to it...

Off of Aziraphale's crepes declaration, they get into The Bentley and peel off and the next time we see them, we're at...

The Ritz-Carlton, London. One of the finest restaurants in the world; known for their famed afternoon tea and world-class service. The origins of the word 'ritzy.' Where Crowley and Aziraphale have lunch in 2008, for what we will learn in the subsequent scene between them is the first time. We won't know that this restaurant is The Ritz until the S1 finale, when they return there after specifying that it's where they are going. We won't begin to understand fully what it means to them in their language to do so until then. The first hint happens around midway through S1 in the 1967 scene, when it becomes apparent that they are speaking to one another in a coded way-- even while alone, as they are just used to their own language by this point-- and that Aziraphale's "dine at The Ritz" aspiration was something tied to the idea of them taking some more steps towards being more openly and fully together.

In 2008, Crowley and Aziraphale decided to go to The Ritz while in The Bentley after the "let's have lunch" scene, in a scene we aren't shown, likely because the decision to do so would include directly referencing their relationship in a way the show has avoided doing so far but, as the 2.06 kiss showed us, won't be doing forever. (We also are never shown them past a certain point at night-- the show choosing to leave them in 2008 after the "godfathers" conversation in the bookshop and again in 2019 after we last see them holding hands during the ride back to Crowley's flat in London from Tadfield. This seems likely to change in S3, especially because there is almost certainly a The Blitz, Part 3 and we last left them late at night drinking wine alone in the bookshop making eyes at one another.)

Right, so, back to The Ritz in 2008 and the kinky lunch part of lunch...

Foreplay. Activities between partners-- physical, psychological, emotional, or all of the above-- that are designed to stimulate sexual arousal, in order to put the mind and the body in the mood for sex.

Kinky lunch is a form of foreplay, as Aziraphale is into the pleasure of being watched by Crowley as he enjoys the pleasure of his food and Crowley is into watching Aziraphale enjoy himself. This is also where the anticipatory kink starts to make even more sense as if they've already decided a bit of what they're going to get up to in bed later on, then they know what each other is thinking about all afternoon-- but especially during kinky lunch.

First date. There's also something of a romantic element to this, which a partner scene in S2 provided, which is that kinky lunch is essentially repeating what first happened thousands of years earlier in Job's cellar in 2500 B.C.. That night was, more or less, Crowley and Aziraphale's first date. Not all the sex they have is tied to lunching but part of lunching is, essentially, weaving their first date into these little sexy dates they're going on throughout different periods in history. Pretty romantic stuff for these two who also literally cannot say the word 'couple' but are basically married.

Biblical "fruits of knowledge." In Good Omens, what happened in The Garden of Eden is canonically known and it's that our Serpent of Eden Crowley tempted Eve into eating an apple from The Tree of Knowledge, which she then shared with Adam. The two of them then followed up the pleasure of eating with exploration into other sensual pleasures, discovered sex, and Eve-- whose biology really is something-- was basically eight months pregnant about two days later when Aziraphale snuck them out of Eden, jumpstarting humanity. Humans, though, have had ongoing debate over Genesis in The Bible as to what, exactly, the "fruits of knowledge" were that Adam and Eve consumed.

One argument is over what kind of food it was that Eve actually ate. In Good Omens, it is the most commonly thought food-- an apple-- but arguments have been made for everything from grapes to different berries to figs to even wheat. While Crowley does eat and different things than this, most of what we've been shown that he's consumed is humorous because it's almost all things related to speculated foods of the Biblical fruits of knowledge (wine-- grapes/berries; whisky-- wheat; an apple-looking tea in the S1 finale at The Ritz, etc..)

The other argument that is made is whether "ate fruit from The Tree of Knowledge" is actually just a metaphor for having sex. In Good Omens, the answer to this question is the opening of its story and it's not an either/or. It's both, with one leading to the other. Crowley and Aziraphale are more than aware of this and of the parallels with Adam and Eve to their own relationship and, like with everything else, they're very dryly funny about it. The two who are responsible for all sensual and sexual pleasure for all of humanity since the literal beginning of time have kinky lunch and a language full of food euphemisms for sex and flirty innuendo mixing the pleasures of eating with the pleasures of sex ("constitution of an ox!") because they're witty and playful like that.

Scrumptious. How Aziraphale describes his dessert at The Ritz. Means both "delicious" and "attractive/sexy enough to eat." Is basically the foremost adjective that describes human, physical beauty in terms of taste. It's kinky lunch-- a mix of the the sensual pleasures of eating food with sexual desire-- in a word.

Scrummy. Shortened version of 'scrumptious.' How Aziraphale describes the grapes he buys at The Globe Theatre in 1601, which he then spends the scene eating in front of Crowley, who flits around him like the horny little murder hornet he is, trying to flirt his way into Aziraphale's bed. 192 years before The Bastille.

Affirmative consent. Verbalized, informed and positive consent to participate in a sexual act. Needs to be direct and clear-- the more explicit and enthusiastic, the better. Good sexual practice is checking in with your partner before and periodically during to ensure that you're both still on the same page and having a positive experience. True of every relationship-- but especially true if one or more partners has had their autonomy violated in any way in the past, as Crowley has (and as Crowley had again the night before in 2008, when attacked by Satan in The Bentley, which was one of his many motivations for wanting to lunch with Aziraphale the next day.)

A cleverly-worded partner check in need not break the mood but is still equally important to do, even if everything seems to be fine. A sense of safety brings about trust and trust is sexy, after all.

"So, what are you in the mood for now?" Aziraphale's pitch-perfect partner check-in after he finishes dessert at The Ritz. He knows Crowley well enough to know that he's alright so this is flirtier than it might have otherwise been had Crowley not been. Still, it's presenting an opportunity to stop and giving Crowley the same sense of control and choice that he gave Aziraphale at the start of their lunch date. It's all done with a practiced ease and a subtle, sexy confidence that highlights that Aziraphale is very good at this and probably undid Crowley even more than watching Aziraphale eat lunch did.

Alcohol. Fermented fruit, wheat/grains or the like. Consumption of alcohol can lower inhibitions and the ability to be fully in control of yourself. To drink with someone then is to let them experience your most vulnerable self and to trust them to keep you safe and unharmed while you're not in a state of full control. It's intimate. It's sex, in food/beverage euphemistic terms, and we already know that Crowley and Aziraphale have a whole food-related sexual vocabulary... which Crowley jokes about in this scene.

When Aziraphale asks Crowley what he's in the mood for now that they've finished their dessert course, the point of the initial shot of the scene comes into focus-- the way the camera swoops a little over the surface of the table before settling back to show us Crowley and Aziraphale. The swooping shot illuminates what's on the table. It shows us that they've already eaten lunch, as Aziraphale is on the last forkful of his dessert. The key bits, though, are the beverages-- the coffee and the wine glasses.

Aziraphale has a larger, cappuccino-sized mug of some form of coffee drink while Crowley's dessert was a dessert coffee, based on the size and shape of the mug he's drinking it from. This is also where it's fun to point out that Mr. Six Shots of Espresso in a Big Cup has drunk half of what would be less than two shots of coffee, in a normal-for-the-drink-sized cup, and that the coffee is light in color, suggesting that it's cut with cream. But while the coffee and its symbolic freedom tied to S2 is fun to look at, the point here is that Crowley's coffee looks to be a dessert coffee, most of which frequently contain alcohol and, even more prominent in the shot, are two, empty wine glasses-- one in front of each of them-- that each have a little hint of red wine stuck in the spot above the stem in each glass, confirming that they both had at least one glass of a red wine with lunch.

The point is that they had wine with lunch and Crowley's likely been sipping an alcoholic coffee with dessert, and they're literally surrounded by bottles of wine behind them, as they're in a restaurant lol-- they're at The Ritz, which is known for their service and isn't exactly rushing them out. They could sit there for hours drinking more alcohol, should they want to... so, when Aziraphale asks Crowley what he's in the mood for now and Crowley-- who has spent this scene looking like he's considering freezing time and throwing Aziraphale over the table-- picks up the spoon from his likely Irish coffee and uses it to ding his wine glass-- that is empty of the alcohol he already drank out of it--to get the check lololol and says he wants "alcohol-- quite extraordinary amounts of alcohol", well...

Alcohol (in Ineffable Husbands Speak). Literal, surface level: Alcohol. Hidden language level: Sex.

"Alcohol. Quite extraordinary amounts of alcohol." "Sex. Quite extraordinary amounts of sex." Enthusiastic, affirmative consent from Crowley over here. He loves kinky lunch and he's glad you asked, Aziraphale, but he's very, very okay at the moment and wants to go to the bookshop now for more alcohol and, later, for quite extraordinary amounts of alcohol.

"An extremely alcoholic breakfast at The Ritz." A complete sentence in Ineffable Husbands Speak in S2 that Muriel doesn't understand but that we can by this point. Muriel not being able to speak Ineffable Husbands is the point of the moment-- it's to highlight that Muriel is missing information because they don't have the information needed to decode what Crowley is saying or to even realize that there is something to be decoded. It's to point out to us that we have this information and that's why we can understand what Crowley is saying. It, along with "no nightingales", is a moment designed to point out the language and how we can't interpret what we're seeing without being able to understand it. The context of the "us time" scene in S2 helps to reinforce that we have this language correct then also makes it an additional partner scene to the 2008 minisode, as it reinforces this interpretation of the language and the relationship between Crowley and Aziraphale that suggests.

Why does Muriel need to leave the bookshop in 2.06 if Crowley and Aziraphale are going for breakfast at The Ritz? We know it's because breakfast is the latest step they want to take when it comes to dining at The Ritz and alcohol is also sex so the Inspector Constable needs to leave because Crowley is out to have some lunch for breakfast.

Right, so, after kinky lunch at The Ritz back in 2008, we then catch up to Crowley and Aziraphale as they are walking up Whickber Street towards the bookshop.

Romantic stroll. They seem to like to go for a little walk together as part of lunch, if they can swing it. In 2008, they're caring a little less because they've just dined at The Ritz for the first time and they have 11 years left until the end of the world, so they're taking some moderate more risks. This might not be always typical of lunch but it is in 2008. They did this on their first date in the Land of Uz, sneaking out of the cellar to take a walk under the cover of night after the storm stopped. They also take a little stroll from the park to The Ritz in 2019 at the end of S1. All three of these times are possible exceptions-- it was night in 2500 B.C. on their first date and 2008 and 2019 are examples of not just lunching but dining at The Ritz, in the sense that they are in an era of being a little less guarded, if still cautious enough to maintain a sense of secrecy. There is a practical reason for the walk, though, as well as well as a romantic one, and that's related to:

The Bentley. Parked nowhere near the bookshop. On a side street somewhere, like we see Crowley has been doing ahead of S2 and is doing during S2 (including the night before the season began.) Crowley staying in the bookshop late into the evening is a given since they're lunching and have already planned to have some alcohol after their alcohol. The Bentley cannot be parked for hours in the evening in front of the bookshop without them running the risk of being caught so, even if they are coming back to the bookshop during the daylight of the mid-afternoon, The Bentley is already parked away from the shop because lunching comes with an understanding that Crowley will be staying in the shop well into the night.

This all seems routine for them at this point. As speculated in another post, this is probably how Crowley became friends with Mrs. Sandwich, whose work has her outside a bit in the early morning hours just outside the side door to the bookshop. Either way, the car is away from the bookshop so Crowley can stay most of the night with Aziraphale.

1921. The year in which Aziraphale bought a dozen cases (144 bottles) of Chateauneuf-de-Pape "for special occasions", as he either tells or reminds Crowley on their walk up Whickber Street. Twenty years before The Blitz.

This is an interesting comment for this exact moment here because one of the two pretty large gaps of time in the last few hundred years in their history is 1862-1941, right? We don't know much about what transpired between their whole breakup mess in St. James Park in 1862 and The Blitz. One of the flashbacks that was cut from S2 might have illuminated some of this, as it was the one set during The Gold Rush in America, which means it would have had to have taken place before about 1893. We know about Aziraphale learning to gavotte in The Hundred Guineas Club in Portland Place in the 1880s, we know that Maggie's great-grandmother started The Small Back Room with Aziraphale's help in the 1920s and we know that Crowley bought The Bentley sometime around 1933. In the midst of all of that, though, there's this one reference to 1921 here in the 2008 minisode that is pretty interesting when you consider why Aziraphale might be bringing it up in this moment.

Aziraphale is saying that he made an investment in the idea of them having a future of special occasions to celebrate together-- in whatever way they could manage to do so-- in 1921, which is a year in which, as far as we can tell so far, he might not have had a lot of hope that this would be possible. They do seem relatively incapable of breaking up for very long but it's also evident that they don't really fully start to get beyond 1862 until 1941 from what we've seen so far so it might have been a bit slow to heal. We do know that they were in contact and not just from the deleted America flashback but from the canonical reveal that Aziraphale got his driver's licence in the early 1930s, after Crowley bought The Bentley. But Aziraphale might be trying to say to Crowley that things didn't seem especially hopeful for them in the early 1920s, either, but Aziraphale has always held out hope.

1941. A special occasion, as that is Chateauneuf-de-Pape that they are drinking in The Blitz, Part 2.

2008. Year in which this minisode about lunching is taking place, when Aziraphale says that there "are a few bottles left" of the Chateauneuf-de-Pape he bought 87 years earlier, implying that they've drunk their way through almost 144 bottles worth of *just* "special occasion" wine *alone* in the last just under 90 years.

"For special occasions." Would be a truly insane way to refer to learning that the world was ending so safe to assume that Aziraphale is wanting to bust out the Chateauneuf-de-Pape in 2008 because what we see in 1.01 is the first time they dined at The Ritz. It was maybe not the most ideal way they'd ever wanted to as it was largely reactionary to learning they were almost out of time but they did it so time for the Chateauneuf-de-Pape.

Chateauneuf-de-Pape. Wine with quite the holy history. Translated from French, means "The Pope's New Castle". The Catholic papacy in early 1300s were big fans of the Burgundy wines in the area, spearheaded their popularity, and used the church to help spur the economic growth of the Avignon viticulture in that area. They drank the wine exclusively themselves and the papacy had been relocated to Avignon so, to an extent, Chateauneuf-de-Pape is something of a "holy water", symbolically. Maybe the antithesis of it-- holy water (water blessed through the power of Heaven) can kill Crowley, Chateauneuf-de-Pape (wine made by humans; symbolic of sex and love and a lifetime of special occasions with Aziraphale) is the stuff worth living for.

Wine is alcohol is, therefore, in Ineffable Husbands Speak, sex.

"Not very big on wine in Heaven, are they?" What Crowley says on their walk to the bookshop, in response to Aziraphale's suggestion that they break out the Chateauneuf-de-Pape.

A very funny line made even funnier by this partner scene in S2:

Well, you'd better pop off and get it then, haven't you, Aziraphale? lol

What, exactly, was going on between these two Influencer Brats of Job and their usual angels-- do we even want to ask? Probably not. The way Keziah says "they haven't brought the wine" with that little emphasis makes it feel like it's possible that their usual angels bring some Heaven-blessed wine as a pretense but that 'bringing the wine' is sexually euphemistic. Ennon hitting on Aziraphale adds to that sense by giving us the feeling that Job being God's favorite human means that, prior to the bet, Heaven was sending angels to see to the needs of the family and the elder two siblings have a pair of usual angels who service their, uh, beverage needs. All of which is, objectively-speaking, against what Heaven says it disapproves of (sex, alcohol/drunkenness, etc.), emphasizing the hypocrisy of the fascist state of Heaven.

The Job minisode then serves to reiterate the wine/alcohol = sex throughout the series and makes even funnier the fact that Crowley then drank the rest of the house's existing wine in revenge for these older kids being such brats and Ennon treating Aziraphale like a whore.

What it shows, though, is that maybe the only consumable beverage that Heaven *is* very big on-- if not on drunkenness-- is wine, like many big religions on Earth, right? As a result, Crowley's "not very big on wine in Heaven" line is then emphasized to really be "not very big on sex in Heaven, are they?"

Ok, back to 2008...

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes... Or single-malt scotch... Or frou frou cocktails with little umbrellas..." Crowley's full response to Aziraphale's Chateauneuf-de-Pape discussion on their walk. Translated from the Ineffable Husbands Speak below.

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes..." Not very big on sex in Heaven, are they? Forget music and food and books and our life here with our human things and our special occasions and spending time together, you are going to spend an eternity trapped in a open-floor-plan office building in the clouds with a bunch of prudish religious zealots. Forever and ever and ever... We have, potentially, eleven years until we'll never make love again. You *love* sex and if we don't stop Armageddon somehow, you're never going to come again...

"...Or single malt scotch..." Scotch is whiskey made in Scotland. Talisker, Crowley's favorite whiskey and recurring drink order, is a single malt scotch. So, this is: Not very big on *me*, either. Not exactly like I can just ride the elevator up for a visit... if I even survive Armageddon. You might have noticed Heaven is not tagging everything on their Tumblr #bildaddy. In case it wasn't obvious that this entire time, I've been listing other things you like about life on Earth while under the surface basically screaming "WE WON'T BE ABLE TO BE TOGETHER, ANGEL..."

"...Or frou frou cocktails with little umbrellas..."

Frou frou. American slang for "fancy", sometimes overly so. The American English sister word/answer word to "ritzy". Spoken by Crowley after they've just left The Ritz and as they walk past what will be the American-themed Give Me Coffee or Give Me Death in S2. Comes from America's longest allies--the French-- where it means the rustling sound made by skirts as they move and is onomatopoeia (words derived from the sound they make, rather than rooted in a language.) To reference Scotland, the United States and France within two sentences while bashing Heaven is very Crowley, who doesn't see Heaven as The British Empire or anything lol.

Cocktails. Mixed drinks. What you get when you combine alcohols. Also ties to the scene in S2 with Mr. Brown of Brown's World of Carpets in The Dirty Donkey, which is now a partner scene to this as well. Crowley's "a sherry for you, a whisky for me." It's another example of alcohol as symbolic of sex as Crowley bringing Aziraphale his preferred drink is their attempt at getting Mr. Brown to get the hint that they are a thing and they like now to keep the alcohol just to the two of them.

A cocktail, though, being a mixed drink, can refer in the context of discussion of Heaven and their relationship to the fact that they are an angel and a demon and Heaven is not very big on that particular cocktail.

Frou frou cocktails with little...

Umbrellas. Canopies.

Canopies. The essential setting component of Crowley's Vavoom in S2, as we heard him talking about (while having a drink) with Aziraphale in S2: "You mean like a sudden rainstorm forces them together beneath a canopy... and they look into each other's eyes and realize they were made for each other."

Vavoom. Alternatively: va-va-voom. Voluptuously sexy. Of or portending to sensual pleasure. How Crowley described his hypothetical-for-Maggie-and-Nina erotic-gazing-into-a-passionate-kiss-while-sheltering-from-rain-together-under-a-canopy thing that is absolutely not Crowley and Aziraphale's first kiss recounted back to Aziraphale by Crowley as his definition of romance. Not at all. Crowley just has a thing about tree canopies and their modern rain-sheltering cousins, umbrellas, ok? We didn't just spot The Vavoom hidden there in 1.01 a bit, too. Absolutely not. ;)

"Or frou frou cocktails with little umbrellas" (in Ineffable Husbands Speak). Heaven is definitely not very big on opulent mixed angel-demon drinks like us and our little romance... We're never going to kiss again, angel. Do you really want to spend *eternity* without ever kissing one another again?

According to S2, the answer to that question is that Aziraphale cannot handle the thought to a point of having a complete breakdown of 'what if you were an angel again so we never had to worry?' desperation, so this is probably why Aziraphale's downward hands of 'argh, not right now-- I can't handle this' show up at this point in 2008, as they finish crossing the street and arrive at the entrance to the bookshop.

This is when Aziraphale starts in on his whole "I'm an angel; you're a demon" stuff again but the tone of it is pretty soft and he adds this bit into it:

"We're hereditary enemies." Something which is hereditary is something which you've inherited through no fault of your own and without your agreement. Often, something foisted upon you that you would not have chosen. Aziraphale's comparing their situation to things like hereditary disease-- they didn't ask for it. It's not their fault. The reality of it, though, is still present. This is a way of reassuring Crowley that, even though Crowley could see through the Yay, Heaven! from the earlier St. James Park scene, that Aziraphale doesn't see him as the enemy and would never have chosen this whole mess. He's not yet agreeing to help Crowley stop Armageddon-- the odds are good that he never was going to while they were outside of the bookshop anyway and Crowley knows that. Everything Crowley has said so far is preamble to his argument for stopping Armageddon later on, when they're inside, sobered up, and Aziraphale is ready to work on a potential plan with him.

After "hereditary enemies"...

"Get thee behind me, foul fiend." Blasphemous Bible-speak delivered flirtatiously as a sexual invitation. Not the only scene in the series with blasphemous innuendo but this one line alone could be its own meta so, in an effort to keep this at under 4 billion words lol, we're just going to look at how this is relevant to lunching.

Foul fiend is just Biblical speak for wicked demon. "Wicked" and "demon" are words in the same vein as "wily", "thwart" and "smitten"--words with dual layers of contradictory meanings that Crowley and Aziraphale love to use in their language. To be "wicked" is to be evil in the sense of in line with Satan, yes, but it's also to be playfully mischievous and is a positive adjective used in place of "excellent" at times. To be a "demon" is to be a familiar of the Devil, yes, but it's also to be extremely skillful and talented at a particular thing.

Aziraphale does the whole "I'm an angel. You're a demon. We're hereditary enemies" thing but then turns around and uses "foul fiend"/"wicked demon" in the non-satanic definitions of it through his fond and suggestive tone. He's not calling Crowley evil-- he's calling Crowley playfully mischievous. He's calling him trouble in a light and fun way. He's not calling him a demon in a derogatory sense but in the skillful sense. The same words that mean "evil ally of Satan" also mean "playful and talented"-- Aziraphale has added context by situation and tone of voice/delivery to essentially turn "foul fiend" into calling Crowley "a demon" in bed, in the "skillful" sense of the word. It becomes fuck me, my very wicked demon by use of a suggestive tone.

But it's the use of "get thee behind me" that is most relevant to 2008 here because remember when I told you we'd come back to crepes?

Crepes. Thin, French pancakes. Can be had almost anytime of the day because they are quite versatile-- savory, sweet, for lunch, for dessert, you name it lol. As sexual euphemism, though, we are really looking at how 'pancakes' have been used traditionally by people using food as euphemisms for sex and that is, unsurprisingly, in relation to how a pancake is cooked. I think we've all probably made actual-pancakes-the-food before or at least have seen it done so it probably will not come as a surprise to you that you have to turn a pancake over to griddle it on both sides for it to be done.

As a result, any sexual euphemism involving pancakes is referring to sex that involves a switch from an initial position to a second position that is literally just the receptive partner turning over. So, in order to fully get Aziraphale's love of his romantic French pancakes here, we'd have to have the starting position of crepes and that is something the show actually gives us because why not at this point lol.

"Get thee behind me" after they've spent the afternoon setting up this 1793-inspired crepe-a-palooza indicates that the starting position of crepes is Aziraphale getting done from behind but he'll turn over because he likes to finish his French pancakes facing Crowley.

Vavavoom Yellow. The color of Crowley's eyes and the actual name of the actual paint the actual people involved with this show painted the actual walls of the bookshop. The color Aziraphale turned The Bentley after making it take off its black and silver sunglasses. Crowley's only out here trying to seduce Aziraphale in every other scene by looking at him over his glasses or taking them off or going on about their tantric eye sex into their first kiss... Seems possible Aziraphale might have a thing for Crowley's eyes, no?

"After you." Aziraphale wants crepes for dessert, though. After "get thee behind me, foul fiend", he gestures Crowley into the bookshop with a very witty "after you", which is both politely letting him go first into the bookshop and insisting he is in bed later as well.

Inviting Crowley inside the bookshop with the "after you" in tandem with inviting him inside with the "get thee behind me" is also then using the fact that Crowley is allowed into the bookshop as sexual metaphor for being allowed inside, well, Aziraphale. This gives it a partner scene in S2, when Aziraphale turns The Bentley into a sexual metaphor and is going for the innuendo gold when he then again uses the bookshop to euphemistically refer to himself with "... just as that bookshop is, technically, my shop... but we both get *plenty* of use out of it, don't we?"

God. The only other character on Good Omens aside from Crowley and Aziraphale themselves who speaks Ineffable Husbands Speak. Character responsible for teaching us one of its most important code words-- "nightingales"-- and who ships it so hard that She had a literal nightingale singing as a joke on their dual-meaning-happy language in the S1 finale. Our narrator in S1.

"...while, in London SoHo, an angel and a demon had been drinking solidly for the last six of them." As we cut away from Crowley & Aziraphale's scenes in 2008 to see The Youngs leave the satanic nunnery with their new baby, God points out-- with a hilarious 'oh my stupid children, scared of a baby' tone-- that "The Antichrist had been on Earth for 24 hours." If we can assume that The Youngs were not sent home from the hospital with a new baby in the middle of the night and that it's closer to the more civilized option of a dinner hour, then that would also go with the fact that Aziraphale was having dinner during all of this the night prior, right? Which means it's dinner time, if we're at 24 hours later. Which means that if, in London SoHo, an angel and a demon have been "drinking solidly" for the last six hours, then God is counting the entire afternoon since Crowley and Aziraphale met up for lunch as "drinking solidly" and that's because "drinking" in Ineffable Husbands Speak isn't just alcohol but sex. Yes, that's God making a sex joke. (She has a few more in S1, too.)

"Baby." Term of endearment for a romantic and/or sexual partner that has been documented as having been in existence since at least around the 1830s but was mainstreamed by American jazz, soul and rock 'n roll music and cinema.

While Crowley and Aziraphale are in the alcohol stage of their alcohol, they get plastered on Chateauneuf-de-Pape and Crowley, in a drunken ramble that we will realize by S2 is inspired by Aziraphale's magic words and their conversation in 1941, is going on about what is going to happen to the creatures of Earth when the world ends. He begins to try to say that the fish will be "turned into bouillabaisse" but that word is too difficult for him to say while drunk. While attempting to, he gets distracted gazing at Aziraphale and calls him "baby" in a low voice and then we get their hilarious very drunk kissy faces. Crowley manages to translate "bouillabaisse" in his mind enough to "fish stew-- anyway!" and they sober up soon afterwards to have an actually semi-coherent conversation and some actual alcohol.

In the context of lunching, this becomes getting drunk and distracted by thoughts of later in the middle of trying to talk-- and we know now thanks to S2 that Crowley is also distracted by thoughts of 1941 here at the same time, as he's going on about bananas, fish, and gorillas. We've never heard him call Aziraphale anything but his name or "angel" with the exception of this scene, when they're alone in the bookshop with alcohol on the brain. Aziraphale is drunk but he also doesn't react like it's unusual-- if he heard it, to be honest, as he seemed a bit devoted to stringing together his thoughts related to The Kraken... that great, bigggg bugger, as Aziraphale described him, not at all thinking about the quite extraordinary amounts of buggery they were going to get up to later on.

But, anyway, there's the scene where Crowley calls Aziraphale "baby" in 2008 and that might suggest that he does if they're alone and there's no risk of anyone overhearing it. (As "angel", at least, is theoretically meant to be calling Aziraphale by what he is in a semi-derogatory way but Crowley's honestly never made that work a day in his life lol.)

Thwarting. See: separate meta on my blog on "wily", "thwart" and "smitten" as examples of words with contradictory, dual meanings that Crowley and Aziraphale like to use in the 'angel-and-demon' sense on the surface but in their 'sexy/romantic' connotations in their hidden language. While talking about a plan to stop Armageddon, Crowley uses "wiles"-- the enticing and feminine-leaning-in-connotation definition of "wily"-- in a dry joke where the surface level is about how it's the role of an angel to stop the Evil One (his demon counterpart) at every turn but is really using "wiles" in its seductive definition. He also uses "thwarting" in a way that is substituting it in a sentence for "fucking" on the hidden language level: "You can't be certain that thwarting me isn't part of The Divine Plan, too."

Indeed, Crowley. Indeed.

"...at every turn." Ha. Crowley has crepes jokes. Think of all the French pancakes we can have for eternity if we thwart Armageddon, angel...

Godfathers. The 2008 minisode scenes end with them deciding to have a baby. Crowley's like I have a plan to stop the end of the world and it's that we crash this mansion and live together raising a kid like a little family and I've thought of a way you can sell it to Heaven-- whaddya say? And Aziraphale melts into a puddle of sparkly-eyed joy and they have some quippy lines about being damned that feel like foreshadowing for Aziraphale something fierce but this is where we leave 2008. Right here.

After alcohol, but before alcohol, ya dig?

Lunch (in Ineffable Husbands Speak). A recurring date of kinky lunch and spending time together that is pre-determined to end hours later with sex that is at least somewhat decided upon at the start of lunch, often euphemistically through discussion of " lunch food" and/or their romantic encounters in their shared past.

Off of this, let's go look at our partner scene of The Bastille again, now using 2008 to illuminate parts of it.

Paris, 1793. Crowley and Aziraphale playing 'damsel in distress and dashing hero rescuer' in The Bastille. Seven years before Aziraphale opens the bookshop; thirty years before Crowley's dragged to Hell in Edinburgh. They've been getting away with this forever at this point, to a point that while they're still overall cautious and terrified of getting caught, they're starting to think it's possible they never will because they've managed to keep it a secret this long. Aziraphale is dry and arch when referencing the recent "strongly-worded note" he apparently received from Gabriel about doing "frivolous miracles". Even though the note might not exist as this whole scene is, basically, a roleplay game, the attitude there is that they're getting one over on Heaven & Hell and are taking advantage of it.

We all know things like Aziraphale lighting up when Crowley shows up and the "oh, good Lord" while raking his eyes over him-- we're just going to look at some bits here that have more significance in Ineffable Husbands Speak.

As a side note here: the buttons on the black part of Crowley's outfit in Paris also are very similar in style to the jacket he's wearing in the Let's Have Lunch scene in 2008, in a fun bit of visual paralleling between the partner scenes via the costuming. This scene is also a great one for the consistent thing in the series where Aziraphale will casually reference God and Satan ("oh, good Lord"/"luck of the devil" in the Tadfield Manor scene) but Crowley will not ("what the deuce are you doing locked up in The Bastille?").

So, Crowley does his whole haughty and faux-put-upon thing upon arriving and S2 actually makes how he arrives even funnier because he spends the first half of the scene lounging on the floor across the room, which has real Job's cellar vibes. Later in the scene, we get the "well, you're lucky I was in the area" and Aziraphale's reply of "I was", both lines of which are arch as all fuck. They ring with a kind of knowing playfulness that honestly signals the whole thing is not exactly an organic situation. Crowley has come to Aziraphale's rescue out of nowhere before and odds are solid that led to Aziraphale's whole rescue kink awakening here lol but this scene in 1793 is not that. Crowley was absolutely "in the area" with his calendar cleared for whatever sexual hijinks the angel wanted to get up to that afternoon. He's committed to the bit and asks near the start: "what the deuce are you doing locked up in The Bastille?", prompting Aziraphale's response of "I got peckish."

"Peckish", meaning "slightly hungry", but you don't wade through a revolution because you could use a snack so Aziraphale's downplaying it for humor-- he's fucking starving. And not really for food. They have food in England. Aziraphale has intentionally got himself locked up in The Bastille because he's horny, which he's expressing using food terms because of course he is. Ineffable Husbands Speak was created by this dry-humored and self-deprecating duo, one of whom is the Serpent of Eden and the other of whom is a bit of a raging gourmand and, together, they've never met anything consumable that they can't make into sexual innuendo.

To learning that Aziraphale on the surface needed a snack and, in Ineffable Husbands Speak, needs a snack, Crowley has this hilarious response:

Go on, Crowley, keep pretending like you're offended that this is all just because Aziraphale is horny and like you think it's not specific to you, like you wouldn't let him nibble on you whenever he wants lol.

Tell him he's special, Aziraphale, and not just one of your favorite toys. You dragged him to a prison cell feet away from a guillotine for this.

"Well, if you must know, it was the crepes. And the brioche. Can't get decent ones anywhere outside of Paris." is Aziraphale's quite illuminating reply.

Paris is France and anything Parisian or French is coded as romantic and as related to love to them, even if we know how much they speak around those words. We know what crepes are now from the 2008 scene and we'll look at brioche in a moment but we can already see that this sentence, translated from Ineffable Husbands Speak, is Aziraphale saying that he can fuck his way around the world (and we know it's suggested that he has at times) but he feels that it's never as good for him as it is with Crowley because the crepes and the brioche are better when they're had in Paris-- because sex with Crowley is better for Aziraphale than with anyone else because of how they feel about each other.

Probably also worth mentioning that crepes and brioche both originated in France (many societies around the world have versions of crepes but the crepe itself is French) so this is also really saying it's just always been Crowley for Aziraphale since the start and Aziraphale was alluding to that to Crowley in the Paris, 1793 scene.

Brioche. A bit of a bread, a bit of a cake, it is a bit sweet and rich like a pastry and falls mostly somewhere there on the French deliciousness spectrum between the two and treated by chefs and bakers as a bit of both. As a result, can wind up in many different meals throughout the day, in different ways. Brioche = Crowley, in food form. Can be used to make sandwiches (ha) but is most well-known as the signature bread used to make French toast. French toast is traditionally made the same way as crepes-- involving turning, like pancakes.

Brioche (in Ineffable Husbands Speak). Both Crowley himself, in food form (bread is necessary for sandwiches, after all) and crepes-as-sex reversed between them with Crowley as the receptive partner.

[Crowley is also suggested to be black bread, according to God's narration, in the St. James Park scene, leading me to believe that he's just every kind of bread Aziraphale likes, which is probably most of them.]

Aziraphale invites Crowley to lunch and we know now that lunching was already a thing for them then. True to form, the scene ends with their first step of lunch-- the anticipatory part-- with Crowley asking "what's for lunch?", which we now understand to mean the same thing as "I still owe you one from..." in 2008. He's asking Aziraphale what he would like for lunch and we know already from 2008 that they went out for crepes and had a whole French buffet.

Armageddon: Round One. 2019. Averted. Afterwards, they meet up in a park and swap bodies back unnoticed because we didn't have enough secret sexual relationship stuff already happening on this show lol so yay metaphor and now there's a full-circle back to the bench at St. James Park in 1.01 but now with them having survived and at least temporarily halted Armageddon. Then, as they start to adjust to the whirlwind being over, it's Crowley with:

"Time to leave The Garden." Crowley likening Aziraphale and himself to Adam and Eve-- and just prior to proposing that he and Aziraphale go get their Garden on with a little lunch. Shows that Crowley and Aziraphale are more than aware of how much they parallel the first humans and reinforces that all of the Eden references and related humor in their romantic relationship that we've seen is not coincidental but intentional.

To ask Aziraphale if you can "tempt him to a spot of lunchchch" while opening up your hip to spread your thighs and angle yourself to suggest that your body is also on the menu. Complete with the 'wanna go to bed?' head tilt of 1601 and 2008 fame. I mean...

Meanwhile, Aziraphale's barely conscious of the fact that he's rubbing his thighs and looking at Crowley's lips...

To reply "Temptation accomplished." with a cutely dorky little laugh to Crowley's invitation to lunch. To never be one to say no to a spot of lunch and accept the invitation, while joking around about how neither of you ever actually tempt each other, you just find each other tempting, in the 'attractive' sense of the word.

Anticipatory kink. The first part of lunch.

To say that a table at The Ritz has miraculously come free. To suggest that you have 2008/Eleven Years Ago for lunch, coming full circle back to 1.01 in the S1 finale. 2019 is 2008 is 1793 is...

Champagne tea/high tea. The meal that Crowley and Aziraphale are actually eating when they go to lunch in the S1 finale. Features champagne and macarons, both of which are French, adding to the romance and the ties to 1793. There also appears to be an apple-hued tea on the table, nodding to Eden.

PTSD. What causes Crowley to sometimes go quiet and zone out. In 2008, we came in on the end of their meal at The Ritz and Crowley was in the moment. In 2019, we see the start of their lunch part of lunch and Crowley is not at all present. He's facing ahead and staring into space at nothing, exhausted and not in the moment. Aziraphale's partner check-in is different this time, as he can tell that Crowley is not with him. He draws him back to the now with a bit of romance.

"...if you weren't, at heart, just a little bit of a good person." I love you, you know.

"And if you weren't just enough of a bastard worth to be worth knowing." I love you, too.

"A Nightingale Sang in Berkeley Square." Romantic 1940 song containing the lyric "angels were dining at The Ritz" that formed the basis for Aziraphale creating "dining at The Ritz" as a code phrase meaning a more acknowledged and somewhat more open relationship in the future... which they then celebrate agreeing to try by literally dining at The Ritz, in line with their dual layers of meaning-happy language. We're still awaiting the origins of the song as their song but it is to a point that one of them has the pianist playing an instrumental version of it during this afternoon tea lunch in 2019. We also get Tori Amos' cover playing over the scene because dual layers of everything.

Literal nightingale singing. God showing only us the bird that Crowley and Aziraphale don't know is actually singing is the show acknowledging that our perspective is, like God's, on the outside of the relationship but we are now able to understand it. To see the literal nightingale but know what it means both symbolically and in Ineffable Husbands Speak is to see that there are different levels of meaning beneath the surface of what we've been watching.

Nightingales (in Ineffable Husbands Speak). Romantic love. Specifically, Crowley and Aziraphale's word for their love for one another.

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #good omens meta #aziracrow #good omens s2 #crowley x aziraphale

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