#Michael Sheen you brilliant bastard

[waywardwendy]

We don’t talk about this enough imho

The absolute

*Gay Drama*

Bonus 🖤:

[wrengrif]

Are we ready? It's Time...

For more GOOD OMENS WILD META.

I have been chewing on this one for awhile. Like, really ruminating on it. Probably because it's so far-reaching. For me, for others. It's a matter of the Journey From The Final Fifteen.

I will openly admit it, when I first came off the Final Fifteen, sometime in August/September (yeah, I was so worried about Season 2 I didn't watch it for a month after it came out and I realized I was right to do so.). I was, and still am, heartbroken. I was angry, despairing and wondering what the point of an ending like that was. I was angry at Neil Gaiman, I was angry at all the creators behind Good Omens. I was angry at Aziraphale, first, and then after about five minutes, I was angry at Crowley too.

Note, I was never mad at David Tennant or Michael Sheen. I respected their acting choices so much in the Final Fifteen. It was beautiful. It ripped my soul out through my chest. They are both brilliant. I know everyone has their favorite GO counterparts - they are mine.

Then a funny thing happened. A few weeks passed. I started fumbling around Good Omens Tumblr again. I'd been a big contributor during Detroit: Become Human (of which I am still a HUGE FAN, god I love that game.), and until Good Omens 2 came out, I was on the side of Good Omens fandom. Reading, mostly, but at the time I was very deep into my Wangxian fixation (haaaaah, I say, like I have ever left it. My dream AU is Aziraphale and Crowley in the Sunshot Campaign, causing trouble with Lan Wangji and Wei Wuxian.). That changed after Final Fifteen. Now I was hurt, I was looking for comfort. I was looking for my fellow fans.

Clearly, I found you, you gorgeous bastards (saying nothing about your moms, unless you want me to). I started to read more meta, started having my own thoughts and carefully posting them. Reading fanfiction, and ... becoming less angry. Stepping back, to really look at the story. I was swallowing content like Aziraphale swallowed ox ribs. In the midst of this, I realized this wasn't The End of Good Omens, but merely the second part of a Trilogy. I'm a writer, I know what the second part of a trilogy is. It's where your heart breaks, it's the cliffhanger episode. I stopped being mad, and started loving the craft. I started to actually look at the scenes instead of just watching.

With that, I started to realize I had been missing so much. I realized I had been wrong, about a lot of things. My perspectives, and thoughts changed. Aziraphale wasn't at fault, he was a victim of the situation as much as Crowley was. Crowley left the bookshop, but he never left Aziraphale. He waited. He's still waiting. As more time passed, the more my thoughts evolved. Changed, formed anew, and I felt better for it. I decided to be hopeful about the whole thing. Yes, it was bad now, but there were enough signs and easter eggs to say this wasn't the ending we were going to get.

I healed, in short. I forgave. I'm waiting for our next chapter, because I know this story isn't done, not by a long shot. I'm waiting to see how our heroes will cope.

Rather like, I think, Aziraphale and Crowley will. The initial pain is going to fade, the anger, the feeling of rejection (whereas they will some day realize neither one of them were in fact, rejected.). The longing is going to kick in. They're going to miss one another more than they will ever be angry. There's going to be moments of grace, of forgiveness, partnered with sadness. What I think we forget, sometimes, is that Aziraphale and Crowley are 6000 years old. They've fought before. They'll fight again. With the fullness of time though, they'll come back to one another. They'll talk again.

Right now though, they've had time. Time to hopefully process (I really, really hope Aziraphale has had SOME time to process), time let the anger fade a little. Maybe not enough time - some of us here still need time - but enough to let them wonder ... is it really over? Maybe to realize, no. No it's not.

Time doesn't heal all wounds, but time does allow you to find equilibrium. I hope time will do the same for our angel and our demon. I know time helped me. I hope time will help us all.

[thesightstoshowyou]

I got another one for you

52, 58, 79 and 96 with Michael Myers

You got it! I just really, really felt the desire to be mean to this bastard.

AFAB Reader (NSFW). Warnings: Dubcon, dominant reader, bondage, squirting

             When Michael wakes, it’s slow. You can almost see the heavy veil of sleep lifting as he blearily blinks in confusion. It takes minutes, but eventually his vision focuses on you straddling his waist, hands massaging over his chest.

            He jerks, intent on gripping your wrists and maybe snapping them under his palms, but his arms are tied above his head and secured to the headboard in ten different places. His legs twitch under you as he tests them, but he’s less surprised by the bonds around his ankles. Michael catches on quickly.

            “Gosh, that Haldol I stole from the hospital really did a number on you,” you murmur, fingers kneading into the taut muscles of his chest. You revel in the feel of his warm flesh under your palms, the raised edges of the scars marring his smooth skin.

            “Do you know how beautiful you are? It’s truly distracting.” The cold, furious stare Michael fixes you with chills you to the core, freezes your blood in your veins, sends your nerves into flight, flight, FLIGHT! It almost scares you off him, but this is an opportunity you wouldn’t dare waste.

            You scoot back, fingers trailing down his toned abdomen, breath ghosting across his half hard cock. You drag your tongue along the underside and watch Michael’s jaw clench as his body betrays him. He hardens under your ministrations and you suck the tip of his length into your mouth as a reward, but you don’t allow him long.

            Pulling off with a loud pop, you press a soft kiss to the side of his heated flesh and whisper against him, “I heard you the other night, you know. Heard you in the bathroom. You thought I wasn’t home yet. Were you touching yourself without permission?” Michael glares at you, bristling at the idea of needing your permission to do anything.

             Ignoring his indignation, you continue, “That’s my job. That’s what you use me for. I want it all, understand?” The muscles of Michael’s arms tense and he furiously strains against his bonds. You hold your breath when the headboard groans and squeals. Michael hisses through his teeth in ire when the structure remains intact. You silently thank the brilliant carpenter that crafted this bedframe.

            Slowly, you crawl back up, seat yourself in his lap, grind your dripping cunt along the length of his cock. Michael inhales sharply, hips bucking, back arching a little off the bed when the head of his member presses against your warm, waiting entrance. You hum, pulling away, hovering just out of reach.

            You can hear Michael’s teeth grating together. He’s seething, the icy wrath in his eyes barely concealing his desperation. If looks could kill….

            “Look at you, grinding against everything, you’re really desperate for it. Aren’t you?” You’re pushing your luck, you know it, but having power over someone as deadly as Michael is intoxicating. Your cunt clenches in anticipation, warm desire tingling in your belly and drawing a moan from your throat. You’re not sure how much longer you can hold off.

            “Are you going to be good from now on?” Michael jerks his legs, his arms, and the bed frame voices its displeasure with a noisy crack that makes your stomach flop and your heart stutter in your chest, but the bonds hold once again. You nervously chuckle, “Alright, alright.

            Gripping the base of his cock, you sink down onto Michael’s generous girth. A scream tears from your throat when he slams his hips up into you, impaling you, spearing you on too many inches of hot flesh. He pistons his hips as quickly as he can, intent on hurting you the only way he is able. Your nails ding into his belly in a desperate hold, pain and pleasure warring within you and forcing half-choked moans from your throat.

            But, he’s conditioned you. Pain always accompanies pleasure when you’re with Michael. This is all you know, anymore.

            “M-Mi-Michael,” you squeak when your orgasm finds you, blinding, addictive pressure bursting in your gut until you’re gushing on the cock battering your insides, soaking Michael and the sheets underneath. A strained grunt meets your ears as he forcefully thrusts into you and coats your slippery muscles in white.

             Your panting chests mirror one another. You reverently drag your fingers through the thin sheen of sweat coating Michael’s chest. Leaning down, you press a tender kiss to his ribs before sliding off his softening cock.

            Quickly, you slip into a shirt and a pair of pants, murmuring a soft, “I’ll go get some scissors,” as you saunter from the room. Downstairs, you bypass the drawer containing the scissors. You retrieve your car keys from the bowl by the door. Hastily, you check that your luggage is still in your trunk.

            When you turn the keys in the ignition, you can’t help the smile that crosses your face when you imagine Michael—helpless, spent—listening in shock as you drive off into the night.

[ineffably-in-love]

Good Omens Soundtrack: The “Lift Home?” Music Analysis

So, I’ve been way too deep into the Good Omens OST lately, and it’s a real shame that not every piece we hear in the show made it to the final soundtrack. One of the pieces most people miss is the romantic violin song that plays in Episode 3, when Crowley hands Aziraphale his unharmed books and bastard angel canonically realises he’s in fact in love with that demon thanks Michael Sheen.

I thought it would be fun to unpack this piece of music --- and even though Aziraphale and Crowley don’t have an explicit theme of their own, by now I firmly believe that this melody is Their Theme. Read my take on it under the cut :’)

First of all, a brief definition from Wikipedia on what a ‘motif’ is in music: “A motif is a short musical phrase, a [...] recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition.”

With that outta the way, let’s dive into this.

So, this is basically the melody we’re hearing when Crowley hands Aziraphale the books:

But that’s not the first time we hear this melody. It first shows up in the Main Theme, after the A Minor and Major parts, that, as far as I’m concerned, are Hell and Heaven respectively. Or at least two different ideologies/ideas/fractions. This new little theme is still in A Major, but it’s not as elaborate as the melody from before. It’s playful, sure, but very simple and repetitive, maybe even to a point where it can get kind of annoying. It goes like this:

As you can see, both motifs start on an E --- the same note that the Main Theme (the first thing that plays in the intro) starts with. The melodies go down from there, to D sharp and C sharp respectively. But the little new motif takes a very different turn with C sharp, because C sharp is what distinguishes the sound of A Major from A Minor. It’s E - C sharp - F sharp. This new motif does not turn into A Minor, like the Main Theme did. It ends on a high A and stays A Major throughout.

That’s very interesting, and I kept wondering --- what does it mean? Why is there such a cut in our intro music? It’s a completely new theme. What kind of theme is this?

Whose theme could it be???

Crowley and Aziraphale, of course. This melody and the fact that it stays in A Major until the very end contain a lot of things they stand for: That they stay true to themselves and their Arrangement. That they share the same “origin key”, but turn it into something that’s solely their own. Their positive nature (we’re in Major, not Minor). But more on that later.

So when do we hear it in the show? The motif does not always play during vital turning points in the plot involving them (I’ve talked a bit about ‘Is That You?’ here), but I think it does play when something changes fundamentally about their relationship. Something personal. I’ve not actually counted all the times the motif is played in the show, but here are some instances as examples:

Crowley’s Lullaby: Sung in C Major, for David’s sake, maybe? Crowley and Aziraphale have thought of this *brilliant* idea to keep the Antichrist normal. They’re actually watching the wrong boy, but they don’t know that, so they’re very enthusiastic about it. but they’re actually being dumbasses Crowley sings to Warlock as “the evil fraction”, but it’s actually part of his and Aziraphale’s mutual plan, and as of right now, everything is going according to that plan.

It’s interesting that a variation of the Main Theme plays when they enter the scene as the Nanny and the Gardener. It’s the “representative tune”. But in that intimate moment, when Crowley is alone with the child he believes to be the Antichrist, he sings our motif, the little new one that sounds so simple and sweet, during the mission that might save his and Aziraphale’s precious Earth.

Before that, we’ve only heard the new theme briefly play when Mr Young names Adam after his birth in the hospital (in the key of C Major) and before Crowley tries calling Aziraphale. You might think that it is out of place here, but remember: The Antichrist is what will drive Crowley and Aziraphale for the next eleven years and make them work together -- even when they first think it’s all about Warlock.

We’re Not Killing Anybody: This is their break-up scene in Episode 3. Now we’ve changed to A Minor (E - C - F). We even get a bit from ‘Holy Water’ in here. But our motif begins when they start their break-up: “This is ridiculous, you are ridiculous”, showing how their relationship is changed by this conversation and by their different ideas about dealing with Armageddon. Showing how their past relationship is coming to a sad end. “It’s over!” Sob.

Bookshop’s ON Fire: An altered version (F - D - B flat - A - D), but it’s there. The motif goes up to B flat before it falls to A and D, showing Crowley’s great emotional distress and the destructive mania he drives himself into. Listen to the choir when he picks up the Nice and Accurate Prophecies, one book as a souvenir, the last thing that connects him to his angel now -- that’s our motif. Sobbb.

Requiem for A Bentley: Even more altered, distorted even (A - G sharp - C - B) --- The Bentley has accompanied them with the greatest loyalty, and their theme is showing here, too, if you listen closely to the strings at the end. The Bentley is gone, that’s how close they are to Armageddon. Everything’s a mess already, how much worse could it get?

End of This Story: We’re back! Well, sort of. Not A Major, but G Major, the key of the Them. One note below A. An only slightly altered version of our motif plays as Aziraphale believes the war is already won, believes that he and Crowley did it. It comes up again when he starts talking about the Beginning and how his husband was a wily old serpent and how he was technically on apple tree duty and---

All Change: They reverse their bodyswap and chatter happily on their bench in St James’s Park. We’re finally back on the old pattern in the key of A Major. After the motif, there’s a nice line cliché down to A [=harmony’s “going down” note by note in a very pleasant way; Queen used those a fair bit, e.g. in ‘Somebody To Love’] and then to E without resolving the tension that comes from this dominant of A Major. It only gets resolved in the piano version of Nightingale later on, which is written in A Major as well.

Okay. So far, so emotional the ugly sobbing. But, especially when watching Ep3, you might be asking yourself: Isn’t the “Lift Home” scene the first time in Crowley’s and Aziraphale’s mutual past when this motif plays?

The answer is yes.

Let’s revisit Episode 3 before the Blitz scene. At the Globe, when Aziraphale looks at Crowley, eyes begging him to make Hamlet a success using a miracle, an E plays quite prominently and you could think it would kick off our little motif. But it doesn’t; it somewhat changes into a sweet little downwards melody, ending in a happy little E Major chord (while showing Aziraphale’s sweet smile) before cutting to Paris. E Major is the dominant to A Major, as written above, and the dominant always means tension. Tension that, to our ears, feels like it needs to be resolved, ideally to the tonic, which in the case of E Major could be either A Minor or A Major. Now we don’t actually get that feeling right away, because the whole phrase is written in E Major, but keep it in mind still.

Because apart from the many times the Main Theme plays (e.g. when Crowley enters the church), I think that’s the closest we get to our little motif: The two of them bickering about their Arrangement and doing each other’s deeds, when suddenly Aziraphale wants Crowley to do something for him. Not for head offices, not for God, not even for poor Shakespeare, but for him. And when Crowley says yes, “my treat”, our angel gives him the most precious smile ever. Urgh.

The motif first plays in its proper form when Crowley hands Aziraphale the books and offers him a “lift home”. This is when Mr Sheen decided that Aziraphale would finally realise his love for Crowley, and the camera and music department support his acting rather strongly in that regard. As for the instruments, I believe it’s a violin playing the melody, with those cute recurring chimes sprinkled on top. The chimes play so often on this soundtrack I’d have to analyse their meaning/symbolism as well, oh God. Back to our scene with Aziraphale staring into the middle distance. Finally he’s on the same level as Crowley, who’s had it bad for 6,000 years already, and maybe Aziraphale even knows. I think that in this scene, Aziraphale not only realises his own love for Crowley, but he also realises that Crowley very much loves him as well, and has loved him for a damn long time already. That’s a big effin turning point for these two.

However, this would mean that the variation we hear in the Blitz is actually the original version of our motif! It’s a quiet tune that sounds like realisation, yearning and loving, and it’s written in A Major. It would mean that the times we hear it later on in the timeline (e.g. the Warlock lullaby or the happy ending) are actually an evolved version of Aziraphale’s love theme from the Blitz.

Let’s take a look at this early motif again:

It goes up to G sharp before falling onto F sharp. This kinda sounds like a sigh, doesn’t it? The second time around, the melody goes to G sharp once more, before falling down to E -- an even more longing sigh in here, a quickened heartbeat in the quavers there... At least that’s what I hear :’) Aziraphale’s heart is practically beating out of his chest here. That’s one brilliant way of musicalising the feeling of falling in love if you ask me. But the best part is that the music also conveys Aziraphale’s confusion about those feelings, his insecurity, because we do not get a resolution. We are in A Major but we end on E Major yet again.

Now, let’s look at the evolved version we hear in the intro once more:

The melody is much more refined by now, it’s steadier, quicker and overall more complete, mainly because we end on an A Major chord. We climb up from our E Major to a high A and the thing finally, finally resolves. Aziraphale and Crowley have come into their own, they are comfortable with their feelings and their mutual love for one another. It’s whimsical, playful and laid-back at the same time. This little motif is about them and them alone, it’s the signifier of their relationship, and it has turned into their Theme. In this regard, the omniscient intro has given us a fully developed theme since Ep1, and it has been evolved from Aziraphale’s little love motif.

So, if you ask me, this melody is as close as we get to a Theme for Crowley and Aziraphale. It’s more joyous than the Mystery Theme (which plays very prominently during their pep talk to Adam), mischievous even, but quiet and solitary when compared to the pompous Main Theme. It also lends itself to more serious tones when shifted in key, as seen above. But most important of all, it gives us a resolution after Aziraphale’s confusion in Ep3. Now we have a happy ending in fucking A Major, the key that is said to sound the most emotional, bright, proud and joyous; the key that closes the series with ‘A Nightingale Sang in Berkeley Square’.

Bach, famously one of the demons’ composers, once said that “the glorious heights of the light of A Major have only seldomly been really reached” by other keys in music. If that isn’t worth a Hallelujah then I don’t know what is;;

Thank you for reading!

[pendragyn]

that fucking smirk at the end oh my glod *chef's kiss* Michael Sheen you brilliant bastard you.

(also absolutely thought he said eat him lmao)

Deleted scene of disposable demon asking to hit “Aziraphale” in Heaven!