#TW anxiety

[cupcakeslushie]

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Just a heads up, guys! This week is my birthday and I have a full work schedule, so I might not be able to upload anything for a second! I’m gonna try and take this week easy, but you never know if inspiration might hit lol.

[maarlena]

Idk if thats a bpd or a me thing

[hannahbarberra162]

Emperor's Prize (Alpha Shanks x Omega Reader)

18+ MDNI, on Ao3

Chapter 2

Oops! Accidentally wrote another yandere story. This time its Alpha Shanks and Omega Reader.

If I have to keep thinking about it, you can read about it. It’s cringe, it’s overdone, it’s annoying and I don’t care. I did proofread this, but I'll likely do so again in the coming days.

TW: depression, suicidal ideation mentioned, non-con, dubcon, whump, abuse

MIND THE TAGS!

~

Shanks gets more than just the Poneglyphs when he destroys the Victoria Punk, he gets you too. Shanks is kinder than your previous owner, but an Emperor doesn't let treasures slip through his fingers.

~

As you sat on the floor in Kid’s cabin, wrists shackled and chained to his bed, you heard the tell tale sounds of fighting. You knew that Kid was going after Red Haired Shanks in an effort to dislodge the Emperor and take his title. You would never say anything for fear of being slapped across the face or worse, but you didn’t think he was going to win. At least, you hoped he didn’t. You hoped the Emperor killed everyone on board, yourself included. It was what the crew deserved, and your torment would finally end. You would be free of the hell your life had become since the Kid Pirates had taken you from your home. It would probably be a better ending for you than anything else that would happen, anyway.

You’d been living on Beta Island incognito, hiding your status as an Omega. You didn’t want to be sold to a Celestial Dragon in your late teens, as your parents had planned for you. So you’d escaped your home island shortly before your 13th birthday, evading patrol after patrol, living your life on the run. Eventually, you found yourself on Beta Island, which suited you just fine. Only Betas were allowed to live on the island, avoiding all the trouble that the other two dynamics brought with them. You’d taken suppressants since your escape and because you’d never gone into heat, you were able to pass yourself off as a regular Beta. It had been an idyllic time for you, as you worked and made friends with the Betas on your island. You had even deluded yourself into thinking that maybe your life would be alright, when the Kid pirates attacked the island.

You were running away from the chaos and destruction downtown, trying to keep from being spotted as well as you could. Scrambling through an alley, you passed the Captain himself, who was laughing at the bloodshed and pain he was causing innocent people. You thought he hadn’t seen you but you suddenly felt yourself being dragged backwards, back towards the pirate. Panicking, you tried even harder to wriggle away and escape but it proved to be pointless. Later, you found out that he was magnetizing the grommets in your clothes to bring you towards him. Captain Kid grabbed you in his metallic hand once you were close and inhaled a deep whiff of your scent. When you were on suppressants, your ability to scent was dulled but you could still tell you didn’t like his acrid aroma. Kid smelled like sweat, blood, oil, and anger, not an appealing combination. Pushing on the gigantic metallic arm, you tried in vain to dislodge yourself from his grasp. 

“What’s an Omega like you doing on Beta Island?” he asked, crushing your ribs with his gigantic fist. You weren’t sure if he knew his own strength, but he was keeping you in his clutches with ease.

“N-not O-omega,” you grunted out, trying to breathe through the constriction of his hand. You were still squirming, trying to get away from the large pirate.

“Oh yeah? You sure? Your pussy smells like Omega. It’s practically cryin’ for me to take you right here,” he sneered. “Oi! Killer! Take this one back to the ship, lock ‘er in my cabin.” He yelled to a man in a full face mask. Leaning closer to your face, he licked your neck and leered at you. “We’ll find out later if that pussy is Omega or not,” he said, handing you off to Killer. You tried to get away from the masked man, to no avail. Killer was just as strong as his Captain and wasn’t letting you down. Kicking, screaming, pounding his back did nothing as the first mate advanced towards the ship. 

Quickly chaining you to the Captains bed, the first mate considered you for a moment. “I’m going to give you a piece of advice, Omega. Lose the attitude. Otherwise, you won’t last long here.” 

He wasn’t wrong. 

Kid had come back to his cabin once the pirates had sufficiently destroyed your peaceful home. You huddled in the corner of the room, as far as your chains would let you, but the Captain had you before him in seconds. Covered in the blood of your former friends, the Captain had disrobed you, ripping through your clothes like they were paper. 

“Lemme see yer,” Kid said, ogling your now naked form. You tried not to cower, but you couldn’t help but tremble before the raw bloodlust in his eyes. You’d never taken a lover before, you had been too nervous it would interfere with your hormones and expose you as an Omega. Kid's leering had led to groping, which led to much more. That first night he’d bitten, clawed, bruised, kissed, and abused you, leaving you broken in spirit and body. You never fully recovered. You quickly learned he didn’t want you talking, didn't want you making eye contact, didn’t want to hear your crying, didn’t want anything from you except your body. He used you as he saw fit, as ruthless to you as he had been to your island. He never even asked your name, most often calling you ‘Omega,’ or ‘Bitch,’ among other colorful names.

You were the Captain’s sex doll, and the crew treated you as such. No one paid you any mind except to tell you to move the fuck out of the way, or to laugh at you as you stumbled out of the Captain’s quarters when he let you. Killer would occasionally bandage your wounds, but Kid preferred you to wear the marks he put on you. Kid wanted the mating bond to form between the two of you, to solidify the fact that you were his and prevent any rivals from taking you. To do that, he needed to bring you into heat. To try to get you to go into heat, he had tried any old wives tale he could find. He locked you in his quarters, denied you food except for his cum, kept you naked for days on end, bit your neck in a claiming bite, anything that might work. None of it did, but it all left you weakened, depleted, and suicidal. 

Even though you could practically feel his disdain for you, Kid sometimes told you his plans late at night after he finished pumping you full of his come. As you laid with tears drying on your cheeks and blood dripping from fresh wounds he’d given you, he told you about his simmering hatred for Red Haired Shanks and how he wanted his revenge. During these conversations, you encouraged him, praising his strength and skill, and told him that he absolutely was powerful enough to take on the Emperor. You were surprised that your voice held out while you were talking, both from disuse as well as from the effort you had to put into lying to his face. Once when you voiced these opinions, he’d stroked your skin while in thought, the first time his touch hadn’t hurt you. 

The day finally came that he attacked the Emperor. You’d heard him powering up his attack, laughing maniacally as he planned to wipe out the fleet of ships you could see from his cabin window. You cringed, waiting for the sounds of the dying….except it never came. Instead, a sonorous voice boomed out “Divine Departure,” bringing a deafening blast to your ship. Screams had followed, but not the ones you were used to. Rather, you detected the screams coming from the crew, yelling that they didn’t want to die, that the Captain had been defeated, that Killer was also knocked out. 

You couldn’t help it, you laughed long and hard, cackling into the darkness that had consumed the ship. You knew your voice had been ruined from too much choking and screaming, your vocal chords permanently damaged at the hands of your would be Alpha. The sounds you made were harsh and coarse, like a ghoul laughing from beyond the grave. Normally you were too ashamed to speak with your butchered voice, but you were too joyous to care. You were happy he’d received vengeance for some of the violence he brought to the world. You could only hope the ship sank and the rest of you with it. 

A few moments later, the door banged open and Emma stood before you, tears running down her face. She didn’t address you, just unchained you from the post on the Captain's bed and pulled you along with her. She was carrying the Poneglyphs, the Captain’s most prized possession aside from you. Emma was running, giving you barely enough time to avoid being dragged, as she brought you to the center of the deck. She bowed, and when you didn’t follow suit right away, kicked you so that you fell to your knees. Glancing up, you saw why.

All powerful Emperor Red Haired Shanks was on the Victoria Punk, staring down the crew impassively as they pleaded for their lives. You dropped your head, not making eye contact with the Emperor. You’d been hit enough to know that Alphas didn’t want you making eye contact with them in any capacity. Shanks approached Heat, who now held both the Poneglyphs and the end of your chain.

Shanks POV

Shanks observed the panicking Commander as he advanced towards their Captain. Kid’s crew were begging for Shanks’s forgiveness, something that would not be given. They had tried to annihilate his subordinate crews and would have, if Shanks hadn’t acted so quickly. Drawing a gun was dangerous, it put your life on the line. And Kid had been given a warning when Beckman shot off his arm. Some lessons had to be learned the hard way. 

A young woman brought the Road Poneglyphs in her hands, along with someone attached to the end of a chain. Handing her Commander both items, the blue haired girl bowed in supplication to Shanks, awaiting his judgment. Noting the chained woman didn’t do the same, the girl kicked the battered woman, bringing her to her knees. Shanks took the Poneglyphs from the Commander, who also handed him the end of the chain of the cowering woman. Shanks had no interest in slaves, he didn’t keep or want any. The slave kept her gaze averted, looking at the ground as she trembled. Her body was littered with bruises in various stages of healing, as well as cuts and welts. She bore a savage mating bite that was clearly infected, along with bruising circling her neck. Breathing in deeply, Shanks hid his surprise as he realized the small woman was an Omega. 

Omegas were exceedingly rare in the world, they were either sold to Celestial Dragons for an incredible amount of money, or outright stolen from their homes. If an Omega bred with an Alpha or Apex Alpha during their heat, the offspring was guaranteed to be either an Alpha or Omega, unlike other pairings. Because the Celestial Dragons took or bought nearly all of the Omegas in the world, wild Omegas were unbelievably scarce. Shanks hadn’t heard of one being found in over a decade. How the Kid pirates had managed to find one and kept her a secret, Shanks didn’t know. 

He said nothing as his own ship passed by, his crew calling out to him. Shanks removed his Emperor’s cloak, covering the shivering woman in its warmth and his scent. Your small trembling fingers took the fabric and held it shut around your body, as you sniffed the material. You still hadn’t said a word or looked at anything besides the floor, but there would be time to investigate later. Throwing the Omega over his shoulder, Shanks took the Poneglyphs in hand and stepped on the railing of the enemy ship. You were light and put up no struggle when Shanks took you, the only sound emanating from you was the clinking of your chains.

“Look over on the island!” Shanks heard the offending crew yell as he launched himself onto the Red Force. The Omega didn’t shout or scream, just gripped his shoulder a little more tightly as he darted into the air. Landing on the Red Force, Shanks yelled out for Hongo.

“Meet me in my cabin. Ten minutes,” Shanks ordered. The doctor nodded his assent, and went below deck, likely to the infirmary to gather supplies. Handing the Poneglyphs to Beckman, Shanks shifted the Omega in his arms so he was carrying you with his arm under your legs. You moved your face so it was buried in the crook of Shanks’s neck, avoiding looking at either the ship or the crew assembled on the deck. He hoped you were acclimating yourself to his scent, it would make your transition away from your previous mate easier. Even through the fear and pain Shanks smelled on you, he could tell your scent was absolutely delicious, like no other woman he’d smelled before. His cock twitched with the thought of claiming you for his own, though your medical issues needed attention first.

Bringing you to his cabin, Shanks shut the door behind you quietly. Depositing the woman onto his bed, you shrank back further into the cloak as if to hide yourself. You gripped the hem of the garment so hard that your fingers were turning white, matching your face as the color drained out. Ah , Shanks thought to himself, she thinks I’m going to ravage her right now like some animal . It made sense, he’d put you on his bed, what else were you going to think? 

Sitting down next to you on the bed, Shanks didn’t speak. Instead, for the first time in the Emperor’s life, he purred. He was an Apex Alpha, a rare breed of Alpha who was able to control other Alphas. It came with Conqueror’s Haki, the two traits going hand in hand. Purring came to him instinctively, but he’d never felt the urge to do so before. He’d had lovers who’d requested it, but Shanks had always laughed them off like they’d told a joke. But seeing you distressed made the rumble come almost unbidden, rising from his chest like a balm. You still didn’t look at him, but your fingers relaxed incrementally. Shanks continued purring for you as you tensed at his presence next to you, tenderly picking you up to sit on his lap. You sat upright, stiff, your body rigid with fear and apprehension.

“Easy, little Omega, easy,” Shanks said between purrs. You didn’t respond but didn’t object either physically or verbally to anything he was doing. Shanks wound his arm around you, pulling you closer to his chest. The rhythmic sounds were working, lulling you into a state of relaxation and calm as your hands dropped to your lap and your head relaxed against his chest.

Your POV

You were gripping onto the Emperor’s black cloak like it was going to shield you from whatever was going to happen next. It was heavy and warm, smelling like tobacco, cloves, and oranges, a heady combination. Even if your life would be no better under the Emperor, at least this scent wouldn’t make the bile rise in your throat. 

You were still avoiding his gaze, your wrists shaking in the chains under his watch. He’d put you on his bed, likely for the same reasons Kid always had. At least he hadn’t thrown you against the wall or forced you to suck his cock first, making you choke until you cried or passed out. Much to your dismay, he began to purr for you. You’d heard stories during your childhood about the Alpha purr. There were whispers that it was a form of mind control, that it was used to beguile Omegas into doing things against their will. Kid had already done a lot of things against your will, the Emperor didn’t need to purr to make you do anything. You hoped this wasn't a precursor to something vile, though you were long past wishful thinking.

But as the Emperor continued to purr and moved you into his lap, you felt it working despite your efforts to remain alert. The soothing rumble had you taking deep breaths and relaxing your hands. You felt your exhaustion returning to you, adrenaline finally having run its course. Against your better judgment, you laid your head on the broad chest of the Emperor behind you. His well muscled arm encircled you, and you were content to forget the horrors that would likely await you in the coming days, feeling only the warmth and comfort of an Apex Alpha’s purr.

A few minutes later, there was a knock on the door of the cabin, making you jerk upright once again. You’d looked at the door when you’d been surprised, but you quickly affixed your gaze to the floor once again. You hoped Shanks hadn’t seen your mistake, or that he would be willing to forgive you if he did. But he didn’t move to strike you at all, just called out to whoever had the audacity to bother the Captain. 

“Come in, Hongo,” he said calmly. You wanted to hide your face in the crook of his neck again, but you knew there would be no solace found seeking comfort where there was none. Opening the door, a large man with blonde hair came inside, carrying a black leather doctor’s case. You said nothing and remained in place, it was the safest route for the time being. The man, whose name you now knew to be Hongo, walked slowly towards you and his Captain, as if he was walking towards a wild animal.

“How’re we doin’, Captain?” he asked, surveying the scene in front of him. The Captain obviously hadn’t been hurt, he was talking about you.

“Alright,” Shanks answered, arm squeezing you a little tighter. You flinched as the memories of being crushed by Kid’s arm came flooding back to you. “They had an Omega. She needs some help,” he said softly, patting your thigh over his cloak. You were acutely aware that you were completely nude below the cloak. You hoped Shanks wouldn’t take you in front of Hongo, or at least not for the first time. Kid had done whatever he wanted, it didn’t matter to him who saw what he did to you. 

“Sure, no problem,” Hongo replied easily, opening his bag. He brought out a stethoscope first, something you were familiar with. Winding the scope around his neck, he slowly pried the cloak out of your fingers in order to put the bell on your skin. You desperately wanted to stay within the safety of the cloak, but you knew you had no power. If they wanted to see you naked, they were going to get what they wanted. Surprisingly, Hongo didn’t remove the cloak completely, allowing you use it to cover your breasts and lower half while he worked. As Hongo placed the buds in his ears and reached towards you with the scope, you leaned back and away from the advancing hands. You hadn’t meant to, it was instinctive. Shanks started purring for you again as he gently but firmly kept you in place for Hongo, his arm across your waist.

“You’re safe, Omega, he’s not going to hurt you. He’s just checking your lungs and heart,” the Captain said softly. Hongo took his time listening, moving the scope around your back and front. Once he was done, he put the scope away and took out medical gloves. 

“I’m gonna check the wounds on your top half and neck, OK?” Hongo informed you. You said nothing as he began touching the injuries that you’d suffered at the hands of Kid. You kept yourself from making any noises of pain or recoiling when he touched something painful. You knew you looked beaten and ugly, despite avoiding the mirror. Kid always left bite marks, bruises, hickeys, and cuts whenever he was with you. Your breasts looked like they’d been mauled the last time you’d checked them. But the worst of all was your neck - between the times he’d choked you, the bite he’d given you, and the attention he gave your scent glands nightly, it was a column of black and blue. In spite of your efforts, you hissed when Hongo touched your neck tried to move away from his efficient hands. 

But the men weren’t going to let you shrink away from the medical inspection. Shanks cradled your head against his shoulder when Hongo inspected the agonizing bite on the spot between your neck and shoulder, purring all the while. You knew there was something wrong with it, but Kid had never let you touch it or clean the wound, saying that it would affect your mating bond. You thanked the seas that the bond hadn’t formed, but the throbbing pain of the bite had only gotten worse.

“You’ve got a lot of wounds on your torso and neck. Are there more below?” Hongo asked quietly when he was done inspecting your top half. You waited, not knowing if they wanted you to respond or not. Sometimes it was a trick, people would talk about you while you were there but if you responded, you got in trouble. 

“Hm, do you? I thought I saw some before,” Shanks asked you benignly, rubbing his fingers in circles over your skin. They were both quiet for a few moments and you realized they were waiting for you to respond. You couldn’t bring yourself to talk, so you gave a shaky nod while continuing to look at the floor.

“I’m gonna have to look, OK?” Hongo said, crouching down in front of the Captain. He was trying to make eye contact, but you steadfastly stared down, in order to show your obedience. You blinked rapidly several times, willing the tears not to fall from your eyes. You’d been naked in front of so many people, but the fact that Hongo was asking made you feel more vulnerable than ever. You nodded again, but your hands were frozen in place, gripping the cloak with all your meager strength.

“Brave little Omega, doing so well,” the Emperor said into your hair, kissing the top of your head. You didn’t know when the last time you’d been allowed to bathe was, you were sure you smelled disgusting. Shanks unwound his arm from your waist, and slowly tugged the fabric from your hands, letting it fall onto your lap. You tried not to squirm, not to move as the doctor touched your welts and cuts, but you felt humiliated and debased as he poked and prodded you. After a few minutes of inspection, Hongo sighed, stood up to his full towering height and snapped off the gloves.

“There’s a lot going on,” he said to the Emperor, who had rapidly covered you back in the cloak. “She’s got a lot of wounds, some healing, some new. That bite on her neck is infected, it needs to be taken care of immediately. She’s malnourished and has at least one broken rib. And she’s going to go into heat soon.” 

Your eyes finally snapped to the doctor’s, everything lost to the panic suddenly overwhelming you. 

Shanks POV

Perhaps having Dorry and Broggy destroy the ship wasn’t enough. As Shanks watched you flinch away from Hongo’s inspection, his rage rose by the second. He’d seen your naked form on the ship, but the dim light hadn’t revealed to him the depth of your injuries. It was practically a miracle that you were still alive, Shanks thought. It was well known that Omegas weren’t as durable as Betas and Alphas, they were generally treated with care like the treasures they were. But not only were you littered with wounds from head to toe, but you were a shell of a person. You hadn’t said a single word, you hadn’t made eye contact with him yet, and you hadn’t moved an inch outside of where Shanks had placed you. 

Now, with the information that you were going into heat soon, you were panicking. Shanks could feel your heart beating rapidly and saw your chest rising and falling too quickly. The Alpha in him was worried, wanting to soothe the Omega still perched on his lap. Shanks put his hand over your chest, trying to slow the beating of your heart. Even if the Alpha in him wanted to purr and cuddle you until you calmed down, the Captain needed to get a little more information out of you first. You were still lost in your own world, not responding to any stimulus.

“It’s alright, Sweetheart. Everything is going to be just fine. When was your last heat, hmm?” Shanks asked, holding your face in his hand. The touch seemed to ground you, causing you to blink rapidly as if you suddenly remembered there were other people in the room. You shook your head at his question, making Shanks frown at your answer. The longer an Omega went without a heat, the lengthier and more severe the symptoms were when it reappeared. Shanks hoped you hadn’t gone into heat during your time in captivity, it would increase the likelihood of an unwanted pregnancy. Looking at your body, he couldn’t imagine you were capable of carrying life in your current state. 

“What do you mean, little Omega? You haven’t had a heat in a year? Or longer?” Shanks asked. He knew you were scared and upset, but he and Hongo needed to know this information, it was part of the way they would take care of you. He gently turned your face towards his, forcing you to look up at him. You finally looked at his face, though you didn’t meet his eyes. You shook your head again.

“Tell me more, I need to know how to help you,” Shanks prompted, stroking your cheek. You sucked in a shaky breath, trying to gather yourself before speaking.

“Never,” you said in a hoarse whisper. Shanks recognized the voice from the laughter in the wake of battle.

“Never? What do you mean? This would be your first heat?” Hongo asked incredulously. Shanks hadn’t met another Omega, but it was known that they typically had their first heat cycle in their upper teens. 

You nodded, a tear running down your cheek. 

[citricacidprince]

I’ve been projecting into these two since I was 10 and shall continue to self project until I’m dead 💥

[lightsoutletsgo]

anxiety gremlin — op.81

pairing: oscar piastri x anxious!reader

word count: 3.5k

warnings: mentions of anxiety and generalised anxiety disorder, description of physical symptoms including; nausea, headaches, sweaty hands, stomach pains, brain fog, mental struggles, mentions of panic attacks but reader doesn’t experience one, mentions of food and making food related decisions. PLEASE READ AT YOUR OWN RISK!!  hello loves! this one is very personal to me and it was a pretty selfish write tbh... I wasn't sure if I should post it but I decided to do it in the hopes that it brings people some comfort. Oscar's dialogue at the end is a message that I, as the author, want to remind you all. you've got this, even if it doesn't feel like it! happy reading love mimi

Sometimes, it felt as though the world was out to get you. You faced the world and your flight, fight or freeze instincts kicked in. When you woke up, it seemed like it was going to be one of those days. That unexplainable feeling of nausea turning your stomach and an unexplainable headache pulled at the back of your head. Your jaw tensed as the nausea hit you in another wave and you forced yourself to roll over and close your eyes. Maybe if you could get back to sleep you’d wake up feeling better. Your mind however, had other ideas. Instead, deciding to send you down the spiral of impending doom - a lovely gift first thing in the morning. Thoughts whizzed through your head; Why did you feel so nauseous? Why did your head hurt? Had you forgotten something? What were your plans for the day and was that why this horrible feeling was creeping up? You sat up, accepting that you wouldn’t be falling back asleep and decided to get ready for the day. Perhaps a shower would help? The warm water was soothing as it rushed over you and whether it was the heat or the steam or the fact you were doing something to distract yourself, for a moment you felt a little better. Exiting the shower you decided that while the nausea had subsided, it would be a good time to start hydrating and maybe think about eating something. Your phone rang and dragged you from your internal rambling, “Hi baby!” You smiled, despite the fact that your boyfriend couldn’t see you, “Good morning angel,” You could hear Oscar’s dopey lovesick grin through the phone, “how did you sleep?” You set him down on loudspeaker as you got dressed, “I slept okay! How about you?” “I would have slept better if you didn’t keep stealing the blankets…” You gasped, “I do not!” Oscar laughed, “You absolutely do! One night I’m going to record you for evidence.” You giggled, “You do that baby.” Oscar nodded then realised you couldn’t see him, “I’m just calling to find out what you want for breakfast? I figured I’d stop off at that little cafe that you like on my way home.” You gulped, you had no clue what you wanted or how to decide, “I’d love that, thank you handsome!” You thought frantically for a solution, “Uhh you can choose for me! I trust you!” There was a pause on the other end of the line, “Are you sure angel?” “Yup, mhm, so sure!” “O-okay…” After making Oscar promise to drive safely, you hung up. 

You realised that for a moment while talking to Oscar, you hadn’t even thought about feeling anxious but it was as if that realisation had summoned the feeling back. All of a sudden your hands felt shaky and it was hard to focus on anything but the disconcerting feeling in your chest. Sitting down on the couch you did your best to control your breathing. Sometimes you wished that it would just turn into a panic attack and be done with. Anything would be better than this on-off-on-off situation. It was like feeling a sneeze that wouldn’t leave your body. Unsatisfying and unsettling. 

The front door opening made you snap your head up and you realised that subconsciously you had been rubbing your hands on your sweatpants to try and get rid of the clammy feeling. You shook your head and smiled as Oscar walked through the door, you were just a little bit anxious, it was no big deal. 

Oscar beamed at you as he entered the living room. He noticed that you seemed distracted and almost a little shifty. Your eyes kept darting around the room and your hands were absentmindedly picking at a loose thread on the hem of your t-shirt - a habit you usually despised because it had the potential to ruin your clothes. He said nothing, just walked through the room to the kitchen and placed down the paper bags filled with breakfast. “You okay there angel?” You nodded at him but it wasn’t enough to reassure him, “Are you sure?” You nodded once more, why now of all times were you feeling sick again? You sat there grinding your teeth together and clenched your jaw, feeling too sick to open your mouth and reply. You wanted to reply, you really did! But your brain had decided that words were a step too far. “Did you do something while I was out, hmm?” Oscar joked but all it did was make you more anxious, ‘was he angry?’, ‘was he going to shout at you?’, ‘breakup with you?’, “Come on troublemaker, you can tell me!-” “Nothing! Nothing happened! Now will you please stop asking.” You snapped, immediately clapping a hand across your mouth in shock before the tears were welling up in your eyes. “Oscar I’m so sorry… I’m so sorry baby I shouldn’t have snapped… Please don’t be angry!” You rambled a million miles an hour as your hands began rubbing and grabbing the material of your sweatpants again, not even realising your breathing had turned heavy and you were sweating. Oscar stood there in shock, he had never seen you like this before, was this because of him? He slowly approached you, not sure of the issue and not sure how to resolve it. “It’s okay angel, it’s okay” He held his hand out to you but you shook your head, talking through a clenched jaw in the hopes it would help the queasy feeling in your stomach, “Hands sweaty.” Oscar nodded, “Okay then, can I sit next to you?” You nodded, he gently took a seat next to you, careful not to jostle or jolt you, “Is this a medical emergency?” You shook your head, “do I need to call an ambulance?” You shook your head once more, feeling like you wanted to cry.

How embarrassing that you were having an episode like this in front of your boyfriend after hiding it so well for so long. And even more embarrassing that you couldn’t tell him what was going on let alone why you felt the way you did, “Is this a panic attack?” You shook your head no. Oscar made a little ‘oh’ and sat quietly next to you, unsure of what to say or do. You took a deep breath and forced yourself to open your mouth, despite how heavy your tongue felt. “I’m just a bit anxious.” “What about?” You shrugged, “Nothing. Everything. Hard to explain.” Oscar smiled at you through your one word answers and short sentences, “Well I can wait, it’s okay.” You nodded, hands starting to tingle with how long you’d been rubbing them against fabric and you winced as a sudden cramping feeling started in your stomach. Oscar seemed to notice your discomfort, “Please let me hold your hand angel, I promise I don’t care if it’s sweaty and you think it’s gross, I just want to help okay?” You nodded, breathing deeply and letting him take your hand in his. 

As soon as your hand was in his, his thumb was rubbing gentle circles over the back of your hand. A soothing motion that you let your eyes focus on. Watching his hands and how they moved, anything to keep your attention off of the anxious feeling. 

As he sat next to you Oscar wondered how he should approach you to talk about this. Clearly there was something you weren’t telling him. He thought he knew what it was and he understood why you hadn’t told him. He knew that people got anxious, hell he was always anxious before a race, but he also knew that for some people it went beyond unsettling feelings. He guessed that that’s what you were dealing with too. He’d seen Logan feeling like this a few times and so he wracked his brain to try and remember what the American had told him was useful. How about distraction? It was worth a shot! “Want to watch a film?” You nodded, eyes still laser focused on Oscar’s hands. “I knew you had a thing for my hands but you are allowed to blink you know.” He joked, cracking the smallest sound of an exhale of laughter from you, that was a start. “What film should we watch, hmm?” He grabbed the remote to start flicking through options, his hand never leaving yours, but aware that there was enough space between you so you didn’t feel smothered. “I think something cute and funny? Yes that’s a goooood plan Oscar.” You gave a weak smile once more as he talked to himself and he smiled at you, “how about Tangled?” You nodded and he selected the film, settling back into the couch, head looking at you once more, “Do you want to cuddle?” You shook your head and he just shrugged, wanting to keep you as comfortable as possible,  “That’s okay, you just let me know when you do, okay?” You nodded and he squeezed your hand to comfort you, “Do you want to sit back on the couch?” Your body was still tightly wound and feeling like a live wire so you shook your head, physically unable to relax. And still all Oscar did was smile at you.

As the film started, you did your best to focus on it, finding yourself unable to stop smiling and releasing some of the tension in your shoulders at various points when your boyfriend spoke the lines along with the characters, with facial expressions. You watched on screen as Rapunzel and Flynn entered the Ugly Duckling Pub and you realised your body finally felt relaxed enough to sit back against the couch. Oscar silently breathed a sigh of relief, all he wanted to do was fix it for you but he knew that he could only do so much. 

By the time the next song had finished, your body was subconsciously leaning against him. Your head rested on his shoulder and he gently tilted his head to rest on top of yours. You gave a little contented sigh. As you sat there, a wave of tiredness hit you, the physical symptoms and mental strain you’d been feeling since you woke up taking its toll. With Oscar’s warm body next to you and the comforting sounds of one of your favourite movies on screen, it wasn’t long before you felt your eyes beginning to slowly close. Oscar looked down at you and saw that your lashes had fluttered shut. He pressed a gentle kiss to the top of your head and let his own eyes slip shut. 

When you woke up a couple of hours later, the TV was off and you were laying on the couch with a soft blanket covering you. You sat up and sleepily rubbed your eyes, “Osc?” You heard low music drifting through the door to the kitchen and you could hear Oscar mumbling to himself and humming along, cursing occasionally when pots and pans clanged together. He poked his head out from the kitchen door, “There’s my pretty girl. Good morning angel.” He cooed at you and the way you blinked back at him sleepily. “What time is it?” “It’s lunchtime! I was just reheating breakfast.” You nodded, sitting up and pulling your knees up to your chest as he padded across the room to take a seat at the end of the couch by your feet, “I’m sorry.” Oscar’s eyes searched your face as you looked down at your hands in your lap. Oscar’s hand rested on your knee, “Angel, you never have to apologise for something like that…” He trailed off, hesitant to ask you his next question, “do you want to talk about it?” You inhaled slowly, nodding, “Yeah I think I would.” He gently nudged you with his elbow and you shifted back to let him sit in front of you, both of you sitting cross legged. He held his hands out to you and you took them with a shaky exhale.  

“Umm… I’m not exactly sure how to explain it?” You admitted, your fingers playing with his own in an effort to keep yourself grounded as that familiar feeling of your shoulders tightening and nausea creeping up began to settle in. He followed your gaze, “That’s okay, we have all the time in the world. Explain it however you feel is easiest.” You nodded once more, “So obviously you noticed that I was feeling anxious,” He tilted his head to one side to show you he was listening as you continued, “That’s because I have generalised anxiety disorder. And the thing is… I feel like that most of the time.” You admitted shakily, desperately willing yourself not to cry. If Oscar was surprised or taken aback he didn’t show it, instead just linking your hand with his and squeezing, encouraged you continued, 

“There are good days and there are bad days but I’m always anxious… There’s this constant feeling of underlying panic or anxiety or this sense of impending doom.” You looked up and noticed how Oscar’s eyes searched yours, willing you to understand that he wasn’t going anywhere, “I feel nauseous, I feel shaky, my hands get clammy, sometimes it’s like I forget how to breathe, my head and stomach hurt for no reason, my head goes fuzzy and it’s hard to focus on anything but the feeling of how anxious I am…” “Baby…” Oscar breathed, you gave him a watery smile, tears filling your lash line, 

“It makes me irritable, it makes me bitchy, it makes me snap at people I love, it makes me sensitive and emotional, I cry a lot, I cancel plans at the last second, I keep to myself and I build my walls up…” You trailed off, meeting his gaze and noticing that his eyes were filling with tears too, “Sometimes it feels like I’m two people. Me and my anxiety.” You couldn’t help the way the tears fell with a choked sob, “Angel, can I please please give you a hug?” Oscar pleaded, itching to pull you into his arms and comfort you. 

You nodded through your sobs, finally feeling the huge emotional release that had been building since you’d woken up. He reached for you, gently grabbing your arms and pulling you forward onto him. Falling back against the arm of the couch with you against his chest as you both stretched your legs out. He held you for what felt like forever, tightly wrapping his arms around you and stroking your hair, gently murmuring to you and kissing your forehead. When your sobs had subsided a little, he wiped your cheeks, “My sweet girl…” He gently pressed kisses across your face, relishing in the way your crying eased and you let out a little sigh after each one, “Thank you so much for telling me angel.” He paused, “Can I ask why you didn’t tell me before?” He asked gently. You sighed, fisting his t-shirt in your hand as you fought the nervous feeling that made your stomach flip. His hand rubbed up and down your back in a soothing motion as he felt you tense up in his arms, “I’m not mad at you baby, I just want to know what I can do differently in the future. I’d hate it if you didn’t feel safe enough to come to me for help.” You nodded, nuzzling into his chest, attempting to block out the world and focus on Oscar. Just Oscar. 

“Everyone I’ve told has left…” You mumbled sadly, “Hmmm?” His voice was soft, like he didn’t want to scare you out of answering, “I told a few people growing up, uni friends and stuff, and they would always answer with the usual ‘oh yeah I feel anxious too’... Until I explained I had diagnosed anxiety disorder and then,” you sighed, “then they would tell me it was too much for them to deal with, or they would get mad at me for ruining plans, or tell me to just get over it when I tried to talk to them about it.” Oscar’s hold on you tightened a little as he felt a spark of anger burn inside him. How dare they? Anyone could see that you were trying your best, he gave you his full attention as you continued, “I guess all of those things mean that I have a hard time opening up and trusting people with the knowledge of my diagnosis because it’s always backfired… Please don’t be mad at me… I do trust you, I just…” “Hey,” Oscar’s voice was low to ensure he didn’t trigger you, “I’m not mad or disappointed at you baby, I’m frustrated with myself for not noticing sooner.” “I’m pretty good at hiding it,” you admitted, the two of you led there in silence for a moment before Oscar spoke again, “Well I’m beyond proud of you. For dealing with it everyday and for opening up to me.” You tilted your head up to look at him and pressed a soft kiss to his jawline, “Thank you for listening.” He smiled back down at you, “Of course.” 

You summoned up the courage to ask him the question that had been on your mind for a little while, “H-how did you know how to help?” Oscar breathed deeply for a second, “There’s someone on the grid who uhhh, struggles with the same thing. They’ve opened up to me and explained what helps them so I figured I’d try?” You pushed yourself up to look at him in surprise, “Someone on the grid?” Oscar nodded, “I won’t say who, because it’s their thing to disclose and explain,” You nodded, “Of course!” “But they’re doing their best to work on things and ask for help and they’ve been doing really well.” Oscar made a mental note to ask Logan if he would consider talking to you. “Well, Tangled was a great choice!” You giggled as Oscar nuzzled his nose into your neck, “Yeah? I wanted to pick something that wouldn’t make you feel worse.” You couldn’t help the way you threw your arms around him and cuddled into him, so thankful for him and the thought and care he gave to you. “I love you.” It was muffled against his chest but he knew what you wanted to say and so with a chuckle he kissed the top of your head, “I love you too, angel.”

You stayed there for a moment before he was gently pushing you to sit up so he could look into your eyes, “I want to say something.” He hesitated and you nodded at him to continue. He gently held your chin with one hand, keeping you looking at him as his other hand found yours in your lap, linking his fingers with yours and squeezing, despite the way your hands were starting to get a little clammy again, “You may have anxiety disorder but it’s not who you are, baby.” Your eyes widened, he continued, “You are not your diagnosis. There is so much more to you than that. You are kind and caring, you’re smart, you’re beautiful, you’re creative.” Your heart melted at how passionately he was speaking. “You’re loved and valued by me and so many others, angel… I love you, the anxiety gremlin that comes with you and all.” You giggled at how he referred to it, “Anxiety gremlin… I like it!” He smiled, kissing your nose, you scrunched it up and he kept talking, “I know I can’t fix it and make it go away, believe me baby I wish that I could. But I promise that I’ll be here through all the bad days and the good days. I’ll do everything I can to make it easier and more bearable for you.”

You couldn’t help the way you started crying again, happy tears this time, Oscar’s thumb gently wiping them away, “So when you’re feeling up to it, we’re gonna sit down and talk about how I can help. What I can do when you’re having a bad day, the things we can do together, how you like to be distracted, how I can help when we’re out in public, maybe a codeword?-” You giggled as he started speaking faster and faster, you stopped his rambling with a soft kiss, pressing your lips to his, your hand cupping his face, thumb rubbing over his cheek, “That sounds perfect baby, thank you.” Oscar kissed you once more, pulling you into him, “You just let me know when you’re ready.” You nodded, “I will, I promise.” “Good! But for now, we still need to eat our breakfast!”

[simplyreveries]

Diasomnia boys with a reader that's really prone to panic attacks, but hides it really well?

Like, sometimes they get really jittery and stuff, but that's just them being them! It gets better, usually. If not, they go to the bathroom chill, even when they're literally going to die inside.

And they kinda knew cause they went on a boat date, then they just kinda started saying they were uncomfortable and stuff and they ended up having a huge panic attack, like how would they react?

malleus draconia

he is very observant, especially over someone like you. it's his own way of showing care and affection if anything. malleus usually seems to have a watchful eye over you-- your wellbeing is something he finds really important to him. he can quite easily tell how nervous and how much anxiety building up in you. with that being, however, he is a bit... awkward showing how much he does want to help you. he doesn't understand that part well. now, he doesn't express it, but it does he feels a strange and foreign sense of powerlessness because he wants to be able to magically take it all away.

malleus is incredibly gentle; he does go out of his way to still try even though he can't fully solve it for you. when he notices the jitteriness or even as soon as you seem to be unable to focus, if you're alright with the touch- he'll carefully slip his hand to hold yours and trace his thumb over the top of your hand. he will give you reassuring affirmations or looks. though, he tends to just slip you away from whatever you're around and give you the best sense of peace he can.

with that being said, that's what he prompts to- he knows you seemed to feel somewhat better during your times with him outside ramshackle at night, where you may find comfort just trying to ease your breathing outside. he'll be there, quiet but someone for you if you wish to speak. and once again, because this is still new for him- whatever you want practically goes because he just ultimately wants you to feel better. so even if that's space, stay in silence, or talk about something else to get your mind off it. he will gladly give any of it.

lilia vanrouge

lilia already has this caring and doting nature around him- and that always applies to you. he can sense what you're feeling from a mile away. he knows you so well already and only wants nothing more than to help you. lilia genuinely wants to be someone you can lean and rely on. despite the trouble or teasing to others he can bring- he is very careful around you. especially during the aftermath of any of them, he is ready to be there.

he is always seeming to check on you. when you seem to be bouncing your leg, fidgeting, biting your lip or nails- very quick to notice- he'll calmy hush a "do you want my help, dearest?" something of that sorts and give a reassuring smile. he never wants you to feel bad for it and make it any kind. he also wants the approval from you if you want or need him around to ease yourself.

when you've dealt with one, carefully, he'll try to ease and calm you down after the adrenaline high you were just experiencing. he'll always seem to have a caring smile on his face when he asks if you''ll let him hold you for a moment. i have a feeling his hugs, with the addition of soft humming or strokes are the epitome of safe.

silver

at first, he was new to handling these kinds of things- he felt completely unsure how to help when all he wanted to do was do just that. much like malleus, but honestly, probably even more so- his quiet nature can most likely prove to be some help when it comes to your panic nature. anything he says or does, even if he is a bit internally worried about how to handle it himself, is so gentle and soothing. it hurts him seeing how much you have to deal with- so he'll do everything and anything he can for you. in moments especially where you're talking to others and feeling anxious, he'll take over for you.

silver is protective by default; it only heightens around you. he wants nothing more than for you to be and feel safe. he is knight, he really couldn't push that part away from him if he tries. in the midst of the moment his focus is solely onto you. if you'd allow him, he hold your hands and let you squeeze them as tight as you want, trying to help guide you through it the best way he can. even if it's difficult and you feel like a mess, he is right there with a worried look and this aching desire to fix it for you.

after it slowly wears of, he might recommend and try coaxing you to fall asleep. he doesn't leave your side if your comfortable enough to allow yourself to. he'll lightly trace your arm and try to have you match your breathing with his.

sebek zigvolt

sebek would probably have the most confused time trying to help you- not in a bad way- like anyone else he wants to help you, but he has zero clue how to even begin the first few times. he gets so concerned and when he gets worried it comes out as loud unintentionally. or maybe even aggressive to others in a sense of thinking someone was bothering you. and clearly that's the last thing you would need, so he tries his best to be more cautious of himself for you. there are times where he's been kneeled in front of you sitting looking up to you with a "tell me what i can do for you" attitude. he gets so serious,,,

like silver, he's a knight and wants you with a sense of security- he doesn't want to feel like he failed you on that. he would go out of his way after he starts to slowly understand them- to spend his spare time reading about it and even go to lilia for help on comfort. so, at times like this during an instance on a date he would be ready all the more.

him trying to help you does feel rather by-the-book scientific ways of helping you get through it. but he genuinely tries and is solemn about it. he does stumble a bit nervously sometimes, because he still can't quite think straight when you're experiencing anything sorts of bad. but sebek does his absolute best.

[mondkadaver]

I wish I wasnt so fucking unlovable

[redr0sewrites]

i love you most - Jason Todd x reader

🥀A/n: based on this, basically this is jason comforting u when ur having an anxiety attack

🥀Word Count: 1k

🥀Cw: anxiety, slight disassociation, angst to fluff, incredibly self indulgent

acknowledging that it was a chemical imbalance was one thing, but using it as an excuse was another. you knew you should have taken your medication, you knew you shouldn't have stayed up so late, and you knew that pushing yourself too far would make you anxious, and yet you did it anyway. blame and guilt wriggles its way deep into your chest, lodging itself like a stone in your stomach and refusing to let go of its chokehold on you.

a small part of your mind, that sounds suspiciously like your lovers voice, whispers that it's not your fault. that your valid and loved. but the louder, raging, violent anxiety drowns out that tiny voice, like a tumultuous storm engulfing a small boat.

the only sound within the darkness of yours and Jason's shared bedroom is your own ragged, heavy breathing. you bite down on your lip hard enough to draw blood, struggling to muffle your noises. it was bad enough that you had let yourself get anxious again, for no real reason at all, but it would be even worse if you woke up Jason. it was so rare that he got to sleep so comfortably besides you, and it wasn't fair to him.

it wasn't fair at all.

and yet, that didn't stop you from selfishly wanting him. attempting to self soothe, you start rocking in place, ignoring the tears welling in your eyes and the lump in your throat. you were barely aware of your nails digging into your scalp, fisting themselves into your hair as your breathing refuses to level out. tears of frustration slide down your cheeks, you hate this, you hate feeling this way. the anger only makes you cry harder, but at this point you can't even bring yourself to care.

your barely aware of rustling besides you, too engulfed in your own self depricating thoughts to notice Jason stirring.

"baby? you okay?" he murmurs, voice husky from sleep.

no. no no no no no. you weren't supposed to wake him, it was selfish, it was wrong, he was asleep and never got to rest and it wasn't fair-

"hey. hey, it's okay, its okay- fuck-" Jason sits up, immediately moving to place a comforting hand on your shoulder before stopping himself.

"can i touch you?" he whispers, and you nod fervently, collapsing against his chest with a soft sob as he wraps his arms around you. one hand rubs up and down your back while the other cups your face. your nails dig into his sides, pulling him impossibly close, but he doesn't even flinch.

"shh, shh, 's okay, i got you doll, i've got you. its okay." his words help soothe the raging storm in your head, but it isn't enough. guilt is still bubbling inside you, and you cry harder, sobs wrenching from deep within your chest.

"m sorry, 'm so sorry- hic- i can't-"

"shh, i know, it's okay. you don't have to be sorry, it's okay." his voice is calm and steady, like an anchor that weighs you down and keeps you steady. he continues rubbing your back, holding you as you rock back and forth, struggling to breathe. instead of digging into your own skin, Jason subtly makes sure your hands stay firm on his sides or back, where you couldn't do yourself any harm. its not long before you begin to level out, and Jason, as attuned as ever, notices as well.

"i need you to breathe for me, is that okay?" you nod, and he grabs one of your hands, and places it on his chest. "just breathe at the same time as me. it's going to be okay, i promise." you nod numbly, listening to his instructions without a second thought. you shake and threaten to burst into tears as your breathing refuses to regulate, but you swallow hard, refusing to succumb to the anxiety once again.

you hiccup a little as you begin to get more grounded. you've exhausted yourself, and you slump against Jason out of pure and utter fatigue. your breathing matches him almost perfectly, and you can hear his heart beat rhythmically in your ear.

"i'm so sorry for waking you," you whisper, voice cracking slightly as you speak. "i tried to stop it, i really did, im sorry-" Jason cuts you off by wrapping his arms even tighter around you, nestling you into the crook of his neck and pressing a kiss to the top of your head.

"don't apologize. i want you to wake me up, i promise. i would much rather have you wake me up so i can help you than leave you to suffer in silence..." he trails off, and you sigh.

"m sorry."

"s'ok. i get it. you should go to sleep," he accentuates his words with another kiss on the crown of your head, squeezing you impossibly tighter. "you look exhausted."

Jason lays down on his chest, pulling you with him so that your laying on top of him. you're quick to snuggle in close as sleep sounds very nice at the moment, and with your anxiety mostly gone, exhaustion had appeared in its wake. Jason rubs your back absentmindedly as you begin to drift. your eyes are burning from all the crying, and you soon find yourself much less than conscious.

just as sleep begins to claim you, Jason speaks in a low rumble.

"i love you, doll. i hope you know that."

mustering up all of the strength you have left, you giggle softly. "i love you more," you whisper, inhaling his comforting scent.

"not possible. i love you most."

un proof read and un checked because um. yea. based on a real life scenario except there was no Jason and i made up with this mini fic idea in my head instead of actually coping lmao. i tried to keep the cause of the anxiety very ambiguous to appeal to readers, but overall this was definitely very self indulgent and based on my own personal experiences w anxiety. anyways!!!! hope u enjoyed, MY 2K EVENT REQS ARE DEFINITELY STILM OPEN I NEED MOREEE HEHE

[vidavalor]

The Devil Takes The Hindmost

The Big Damn Post I've promised for ages on all the stuff suggesting that what we're watching in S2 is Aziraphale's mental health crisis leading to his fall...

...with a focus on a religious concept that intersects with secular ideas about mental health-- The Devil Takes The Hindmost-- that was unintentionally mentioned by Mrs. Sandwich and might be what's going on in The Final 15.

Plus, a look at the possible purpose of The Whickber Street Shopkeepers and Traders Association in the story and a dive into the symbolic role in Aziraphale's story played by Muriel... the most adorable Angel of Death anyone's ever seen.

@ao3cassandraic @komorezuki @kayleefansposts @masnadies -- This is basically what I was starting to talk about the other night, if you're interested. @ochre-sunflower -- the meta I mentioned.

TWs: suicide; depression; PTSD; negative self-thoughts... It's optimistic by the end but it's a look at some darker stuff in the story so please take care.

In GO S2, we have a lot of stressors building and overlapping for Aziraphale, with each episode adding new ones, all boiling hotter and hotter until we reach the The Meeting Ball. There, everything stops for the arrival of Shax at the door.

When she turns up, all the other plots cease to be relevant in the moment because the whole story's stakes upon her arrival now come down to a single, pivotal question:

Are these demons going to get into the bookshop?

On the surface, in our plot, Shax, Eric and the smallest number of completely ineffectual demons that a redemptive Furfur could get away with sending without looking like a traitor 😉 are interrupting Aziraphale having turned his first pass at hosting the monthly meeting of The Whickber Street Shopkeepers & Traders Association into a party.

Why is he doing that? For a dizzying number of reasons. So he can try to protect Gabriel by getting Maggie and Nina together and try to be part of his community by using the party to get Maggie and Nina together which is also so he can protect Gabriel... but, let's be real, it's really all so he can dance with Crowley...

Our heads are spinning as much as Aziraphale's is by this point and it's exhausting just to try to recap everything he's dealing with by The Meeting Ball... which is why it probably isn't surprising that all of that story just stops when the brick goes through the window and Shax is at the door. Because, symbolically...

...this is an anxiety attack.

Shax and the demons are Aziraphale's inner demons and they're trying to force their way past the threshold to take control of the bookshop the way that darkness can consume a person...

...as they're trying to take control of the bookshop that is what, symbolically?

Aziraphale, yes.

Aziraphale and Crowley. (And, as we looked at recently, also Maggie, on account of her family's history with it.)

Why this bookshop attack that is a metaphorical anxiety attack at this point in the story?

Because a lot of what Aziraphale wants out of life was happening before the demons that represent his inner demons showed up at the party.

For the first time ever, Aziraphale was no longer compartmentalizing his worlds and hiding parts of his life from people. He had Maggie and Gabriel under the same roof-- his human and angel families together. He had neighbors over and felt brave enough to call himself one of them by hosting the meeting. He was impacting the society around him in a big way by unifying Whickber Street's black market with its "legitimate" front by inviting Mrs. Sandwich to join the group. He was helping Maggie and Nina fall in love.

Most importantly, there was what the whole thing was really for: having all that happen with Crowley there, too, and everyone knowing they are together. Being able to dance with him and be a couple openly like everyone else. This Jane Austen cotillion coming out ball for ladies Maggie and Nina is really a coming out party of sorts for Crowley and Aziraphale. This is like the Christmas party of Aziraphale's dreams here. The one he's never, ever been able to have.

It's a wonderful thing when people who are in a great deal of emotional pain decide they've just had enough and want to break free of their misery and allow themselves to work towards being happier.

It's just a very delicate period because it can go either way, in a hurry. One minute a person can be thinking they're on top of the world and starting to live the life they've been dreaming of but the next minute find themselves freefalling emotionally. This is especially true of people who feel they have to present as cheerful and optimistic for everyone else and who hide their pain behind a smile.

They are some of the most at risk of their lives becoming like the Salinger short story about trauma and suicide referenced in S2-- "A Perfect Day for Bananafish"-- in which a man suffering from PTSD is believed to be fine by himself and those around him, has a nice day at the sea and chats with a symbolic daughter-like character and then, unceremoniously, goes to his hotel room and shoots himself dead.

As Maggie shows us during The Meeting Ball when she parallels Aziraphale's struggle, people get tired of being afraid and want to live-- want Nina, who is coffee, which is freedom-- but they can overdo it, if they're not careful, and wind up taking steps backwards.

Sometimes, the thrill of feeling like they might be on the edge of something good can cause someone to go too far, too fast, and, without the right support, they can find themselves going faster than a rollercoaster-- and right off a cliff as a result.

These people might look at their inner demons and think they're fine, now, actually, and that the darkness doesn't frighten them at all and they're all over their negative stuff-- all good now. No problems here.

Problem is that, sometimes, in the process, they might realize they're lying to themselves when they suddenly tell those inner demons that they can come in and say all that pathetic shit to their face... before they're really ready for that. Maggie, paralleling Aziraphale here, shows that with Shax during the bookshop attack. Not the best way to deal with inner demons, that.

And one person's inner demons can be an unintentional trigger for others, which is one of the things that started off Aziraphale's mental health crisis boiling up into a breakdown earlier in the season.

Aziraphale was already having a terrible week and then he projected his own issues all over his adopted goddaughter when she was having a moment and wound up accidentally saying something about himself that she took to mean about her and that came out sounding incredibly hurtful in a way that Aziraphale didn't mean for it to be. He then sought to make it up to her by finding a way to make her romantic dreams come true but was, all the while, silently berating himself for not having handled it flawlessly in the first place.

And when that got mixed in with trying to *checks Aziraphale's S2 list*... Jesus...

...recover from PTSD, manage all the anxiety and depression that comes along with it, deal with the fallout of his relationships with his abusive family, save his losing it brother from a religious cult/fascist regime trying to kill him and figure out why he's lost his memory, assuage his guilt over the memory-wiped angel that he feels he failed to save that showed up at the door, figure out wtf to do with the bookshop/embassy he's never wanted to run but that has become the M-25 that he's built and is now stuck in and that just reminds him that he hasn't any family to pass it onto, and, most importantly?

Tell his partner that he would like to live openly with him in the a little cottage by the sea in the South Downs...

I mean, by the time Mr. Vacuum showed up and suggested that Aziraphale add to the list that this week also be the first time he's ever hosted the monthly meeting of the business organization of the street he's basically founded but doesn't let himself really feel like he belongs to?

Sure, Mr. Carpet. Sure. Bring it on. Why not, at this point?

But Mr. Vacuum's idea actually caused Aziraphale to think he had the perfect solution-- continue to do what he was doing all week and combine this shit together! Protect Gabriel by tying him to Maggie and Nina and solve Maggie and Nina through the Whickber Street meeting and, well, if he's going to make it romantic for Maggie and Nina, well...

...maybe this is how Aziraphale can solve his biggest problem-- finding more of a way to just be forever near that one, particular person who makes everything okay.

So, by the time we get to The Meeting Ball? Aziraphale is pretty much losing his damn mind.

The heebie jeebies that Crowley gets in the street? It's not the low-rent demons. He knows what they feel like. He can't identify it but the thing that is really, really wrong is Aziraphale himself, in a dark reverse of Aziraphale feeling Crowley's love in S1.

Thousands of years of feeling a lack of enough control over his life have basically led Aziraphale to snap. Parts of it are very funny. Gabriel dressed up as Liberace circling with temptation trays of vol-au-vents is as hilarious as it is loony. Miracling the room so that everyone speaks like it's the 19th century causes a lot of humorous scenes, especially with Mrs. Sandwich... but is also a horror show. Justine loses her ability to speak English well and others have trouble understanding one another. It's like a zanier, more comedic version of Aziraphale's parallel antichrist, Adam, taking over The Them and deciding how, when, and if at all, they could speak.

It's a person in Aziraphale, who is normally very kind to others but not really to themselves, whose pain and anger have built within them to a breaking point and caused them to take that out on others and become, for a moment, almost the exact kind of person from whom he tries to protect others.

During this part of the season, Mrs. Cheng and Mrs. Sandwich have some dialogue that I think might be the whole rest of the season's plot in a nutshell. It happens here:

Mrs. Sandwich being unaware that "seamstress" is a 19th century-era euphemism for a sex worker means that she doesn't realize that she actually is, on one level, telling Mrs. Cheng what she does for a living. Her frustration is coming from the fact that Mrs. Cheng also doesn't know this euphemism and so thinks Mrs. Sandwich is a literal seamstress-- someone who sews and mends clothes-- and not a figurative/euphemistic one. While that and the rest of this scene is worth a whole deep dive in and of itself, it's not the bit I want to focus on here. That bit is what Mrs. Sandwich says as she gets increasingly upset.

Keep in mind as we look at this that the person who is the literal seamstress in this scene is not Mrs. Sandwich. It's the person whose magic is inhibiting her speech-- so, who is speaking, in a roundabout way, through her-- and who is the one changing everyone's outfits as they come through the door.

The seamstress really of note here is Aziraphale.

In the midst of her frustration, Mrs. Sandwich is trying to curse in 2023 terms but they are coming out in 19th century-era equivalents and this means that she says the following things when cursing:

She insists that she's not a godforsaken (abandoned by God; left to Satan) seamstress, that she's not a benighted (taken by darkness) seamstress, and, finally... while probably trying to say "what the hell"... winds up saying the whole season's plot in response to Mrs. Cheng asking her the also rather meta question of "what, in short" the problem is in that moment.

What, in short, is the plot?, asks Mrs. Cheng, on a meta level.

What the fuck is going on in this story?

To which Mrs. Sandwich replies:

"The Devil take it."

The curse "The Devil take it"-- meaning you give so little about something or someone that Satan can have it-- comes from a religious teaching (that works very well from a secular perspective, too) known as "The Devil Takes the Hindmost". It's this teaching that I think is extremely important to S2 and is arguably around what the story is structured.

This teaching argues that people who are excessively self-sacrificing are putting themselves at risk of being taken by darkness/Satan because of the cumulative effects of the anger, anxiety and depression that comes of denying that they are people with wants and needs of their own for too long.

It's about the people who go beyond kindness. It's about those who don't see themselves as part of the pack of people and think that the world isn't for them. They believe that their needs and wants don't matter as much as the need to prove to themselves that they aren't a horrible person-- which they do, in their minds, by denying themselves a full life of their own.

Sound familiar? It should. It's Aziraphale to a T.

Why are these people in "The Hindmost" for Satan to take when they're not terrible people?

Because they fall to the back of the pack of humanity.

Because they are left open to the darkness because they do not allow themselves to have what they work so hard to help others make for themselves.

The pain of that eventually renders them as bad off emotionally as those they counsel, or worse. The more they deny themselves, the more that pain builds and it can push them down dark paths.

They're in "The Hindmost" not because anyone left them behind, exactly, but because they've shut out the people around them.

They aren't letting people in.

It's about here that we can bring up that Good Omens is built around doors and all of S2 is basically about getting in the bookshop that is Aziraphale. It's here that we can mention Shax-- the darkness-- repeating demands to Aziraphale, to Crowley, to Beez to be let in. It's here we can mention The Final 15 and the world's most depressing kiss-- the literal embodiment of "let me in" as a theme-- and the horribleness that followed.

So, if S2 is The Devil Takes the Hindmost and he's headed Aziraphale's way the whole season with a large oat milk latte with a hefty jigger or dash or whatever of almond syrup and the job (the Job...) offer from Hell to tempt him, then we're watching (for now) the last days of the angel Aziraphale because a fall is a form of death.

It doesn't mean it's the end entirely because, as Gabriel discovered, everything goes down but flies? They go up.

Flies are the product of letting someone in and not shutting out the love and care you need. That can only be done through accepting, at least for a little while, that you are allowed to be a person and deserve to be cared for the way you care for others. If a person does that, they can fall but they'll have what they need to get back up and to help them stave off future falls.

Letting people in and talking to people about how you feel-- figuratively: feeding your fellow ducks your frozen peas and listening to theirs--- is how we all defeat the darkness together and make it so that Satan never shows up at any of our doors.

Yes, it is, Crowley. Would have been helpful if you had mentioned any of your own Hell-and-Book-of-Life frozen peas at all to anyone but the audience all S2 but this meta isn't really directly about you so you get a pass for now 😂 Back to your partner...

So, this The Devil Takes The Hindmost stuff? Almost immediately after Mrs. Sandwich says it, the story begins to have the characters literally act it out.

Shax is The Devil in that she's a devout diabolical minister of Satan so she's representing Satan at the door.

First up? Gabriel.

Gabriel mirrors Aziraphale's excessive self-sacrificing. It doesn't matter to him that he just met most of the people in the bookshop an hour or something ago. If that angry mob outside wants him for who fucking knows what reason as this poor bastard can't remember anything 😂 then Gabriel is happy to throw himself on his sword for them.

In reality, no one in the shop should have let Gabriel go out there alone. The whole point of "The Devil Takes The Hindmost" is that if everyone looks after each other the best that they can?

There won't *be* any hindmost.

There will just a pack of people who are all keeping each other safe from the darkness.

Jim is ultimately fine to tussle with Shax, though, because that is the part of the teaching that he exemplifies.

Gabriel has been protected. He's not completely fine-- who ever is, really?-- and he's still not really over this current bout of depression but he's safe from Satan and the darkness.

He's safe because he has Beez, Aziraphale, Crowley, and his new friends on Whickber Street.

Gabriel has a pack and is allowing himself to be part of it. As such?

The Devil can't touch him. Shax can't recognize him and sends him back inside. Gabriel is not in The Hindmost because he's been hidden, safely, by his group.

Gabriel goes back to the middle of the pack where he spends the rest of the attack, helping Aziraphale fight off his metaphorical inner demons by way of aiding Maggie and Nina to save the bookshop.

It's the next to the door, though, who is not so lucky, and gets to be the first example of The Hindmost.

From the way, way back of the pack that has formed of the humans, Gabriel, Crowley and Aziraphale in the middle of the bookshop pushes forward our beloved Mr. Brown of Brown's World of Carpets.

The President of The Whickber Street Shopkeepers and Traders Association-- the Gabriel of the humans-- feels it's his job to sort out this mess... only he has even less clue as to what's going on than Gabriel did... and he's much, much more vulnerable.

Mr. Brown tells Shax that he doesn't know why she is "interfering" with the people in the shop, unknowingly using the word used in religious circles to talk about The Devil coming after people. Mr. Brown is a guy at real risk here. Going into the circle and getting discorporated if you're not prepared? Facing The Devil at the door without preparation is the same, terrible thing. Mr. Carpet has no idea wtf he's up against here and his motivations for going to the door are the heart of The Devil Takes The Hindmost.

What does our lionhearted Mr. Brown do for a living? What is he, symbolically?

He sells carpets, right? What are carpets?

Well, they're rugs, for one thing. They're found in every business and home in existence. They are necessary for living and also an example of having comfort in your life. (They're also walked on and taken for granted, like our Mr. Brown is quite a bit.) You pick out carpets on your own or with the people with whom you are making a life-- and they tend to symbolize that life.

We see, in 2.06, the shot highlighting the lotus flower carpet that Crowley and Aziraphale have in the bookshop, that they use to cover up the Heavenly circle in the floor-- the one they put Gabriel on to do the protection miracle. It symbolizes the life Crowley and Aziraphale have made together to which they've now let Gabriel in.

What else are carpets? In Good Omens' use of language, they're also cars and pets. Rugs, cars and pets... three of the most common things owned by people living a life on Earth, with the word own itself in Mr. Brown's name.

Brown's *World* of *Carpets*... this dude is, symbolically, everyone.

He's life itself.

That's why it's Mr. Brown who gets taken by the demons and, later, saved by Crowley and left in the care of Mutt, who is human magic-- the character who symbolizes the wonder and mystery and joys of being alive.

Mr. Brown-- an extremely common name for a man whose pain is extremely common. He's lonely. He's overlooked. He's the president of this group of apostrophe and Christmas lights-obsessed, irritating and wonderful, typical, human people because he's unflappable and no one else wants to do it. No one else will do all the boring work and hear all the complaints the way he will and he's made that his role and he hates it. In that way, he's the Beez of Whickber Street-- as desperate for appreciation as Aziraphale. He's Burbage and Shakespeare, wanting an audience that isn't sleeping, drunk, or flirting their way through Hamlet. He's Crowley and Aziraphale:

Mmm, good job... Oh, do you really think so?

Mr. Brown of Brown's World of Carpets is a professional carpet salesman. He spends his days selling everyone what they need to make lives of their own but his own life is far lonelier and smaller than he would like it to be. He doesn't have a partner or true friends, just the people of the group into which he's struggled to really fit, despite running it. He's nerdy and awkward. His over-the-top, affected manner of speaking belies the fact that he feels like he's jiggery pokery, through and through. If I took Mr. Brown's name and profession out of this paragraph, I could be describing Aziraphale just as easily, but for the fact that Aziraphale does have Crowley, if not in the open way he wishes for. Because of that, Mr. Brown being taken by The Devil is also foreshadowing the end of S2 for Aziraphale.

Like most, Mr. Vacuum has got some surprising resolve-- some unexpected moxie-- but, fundamentally, this man has spent S2 showing that he is one more papercut away from a nervous breakdown.

So, when he tries to prove his worth to the group by putting himself at risk, it's excessively self-sacrificing. While there are some titters of alarm and warnings to him not to leave the pack, the one who objects the most is Crowley. Mr. Brown, though, doesn't let Crowley in. He doesn't recognize him because it's partially to look good in front of Aziraphale that Mr. Brown has jumped to the front of the pack. It's his loneliness, his lack of his own life, his need to be part of the group and appreciated. His need to be the hero.

Only, Mr. Vacuum is what happens when you aren't prepared for the darkness and you haven't let anyone in to help you. Shax, realizing that Crowley has been lying to her about the threshold by the way that all the humans have been backed into the living room, tests the theory and Mr. Vacuum gets taken by The Devil.

The Devil Takes The Hindmost.

Mr. Brown went from the literal hindmost of the pack inside of the bookshop up to the front to self-sacrifice excessively, got taken by Satan, and then, in a darkly amusing turn, got tossed back through to the hindmost of the pack of demons outside. He's also near the back of the line for coffee the next morning at Nina's.

If The Devil can come for Mr. Carpet, we see, he can come for anybody. Now this lingering and malignant sense of unease we've been feeling throughout The Meeting Ball tips here into real horror.

Crowley is up next to evacuate the rest of the humans in the shop. He's going to walk them all in a pack past The Devil. They go out in mini-groups within a larger pack. He tells them that they need to all stick together and mind each other, not the demons.

If they do that, they live. If they don't, they won't.

It becomes that simple because it is that simple.

Crowley doesn't just tell The Whickbers how to do this, though-- he leads them out. Because he's one of them, too... but really also because this is all a metaphor for Aziraphale's mental health breakdown getting going and what happens when you are having an anxiety attack or a depression episode?

What goes out the door?

The things that keep you alive, right? The good stuff in life. That is defined differently for everyone but a lot of it overlaps for many of us. Many of those things are what The Whickber Street group characters stand for in the story. Aziraphale owns the land for most of Whickber Street so, in addition to being characters in their own right, all of the members of The Whickber Street group represent Aziraphale.

They're all the things he loves the most-- his reasons for living, and what helps keep the darkness away for him. This is really why, symbolically, neither they nor Crowley (symbolically, love) can be present in the shop when Aziraphale is melting down at his worst.

Crowley leads the pack out with Mrs. Sandwich up front. He is allowing himself to be part of the pack here. He might be supernatural and the group human but it doesn't matter. They're all people and there's more to it than miracles. Crowley can't face the darkness on his own-- and neither can Mrs. Sandwich. Neither of them should have to. So, they don't. They choose to be each other's friends and let each other in and they're both better for it and so is the rest of the pack. This is an example of how to deal with darkness in a positive way.

Crowley trusts Mrs. Sandwich in general but for this task, in particular, because who knows best how to deal with the darkness?

Survivors of prior run-ins with darkness, that's who. His fellow "fallen woman", Mrs. Sandwich, has got her hat pin and his back and Crowley has hers.

So, out the door of the bookshop that is Aziraphale goes love, friendship, sex, romance, healthy communication, human magic, community, food, music, and so much more... because not taking care with our mental health issues rob us of what we love.

Left in the shop? Maggie and Gabriel-- Aziraphale's past and his family... and Nina-- the possibility of freedom (her American-themed coffee shop) and what's left of Aziraphale's hope for the future. Nina's decision to stay symbolizes Aziraphale hanging onto some hope.

After Crowley and The Whickbers leave and Maggie accidentally lets in Shax, the demons have gotten in and are advancing. Without those who are no longer in the shop and with Crowley missing, Aziraphale's anxiety ratchets up and the demons-- his inner demons-- gain ground. The goal becomes keeping them from getting into the residence floor upstairs-- to the place to which Aziraphale has let hardly anyone in. The parts of himself that are not public-facing or for acquaintances but only for those he allowed himself to get close to. Maggie and Nina can be on the landing up there. Gabriel can stay in the guest room. They're family. Only Crowley is allowed free reign in the whole of the bookshop.

For the first time, we have an angel not named Aziraphale teaming up with humans to fight for a place on Earth. The start of the 'all of us versus all of them' that Crowley foreshadowed as still to come at the end of S1? It isn't some big battle for the planet. It is a battle for the life of a single person in Aziraphale because every person matters.

It's The Commander of The Heavenly Host rooting around the upstairs rooms of the bookshop collecting all the fire extinguishers bought to help Crowley deal with his trauma that he can find to supply his troops-- the human Maggie and Nina-- on the front lines.

It's Aziraphale's loved ones coming together to fight to save the bookshop that is, symbolically, Aziraphale himself.

Ultimately, though? Crowley, Gabriel, Maggie and Nina can help hold off the demons that are symbolically Aziraphale's inner demons but it's ultimately going to come down to Aziraphale and Aziraphale alone whether or not these demons are going to overrun the bookshop.

We reach the point where Aziraphale has to choose-- is he going to let the demons take him over or is he going to send them back? He decides, in this moment, to blow up his halo.

We learn that Aziraphale's halo isn't divinity floating atop his head-- it's a tight, hard band around his mind. It's mental health issues, in physical form. He is in visible pain and breathing shallowly as he struggles to take it off. If you took away the halo from the picture, it's visually very much like someone having an anxiety attack. He uses it to discorporate the demons-- to send his inner demons packing.

Well, almost all of them...

Shax, the one that voices his darkest inner thoughts, remains. She's unconscious for awhile, lying dormant on Crowley's couch.

Aziraphale tells Maggie and Nina that he thinks blowing up his halo might have "just started a war" and, symbolically, it did.

Because when you blow up your halo, it can work for awhile but if you still aren't able to address the underlying, fundamental issues at the root of why you have a halo in the first place, those dark thoughts will come back.

Those demons are coming back and, sure enough, Aziraphale's bookshop is full of plenty of voices by early the next morning. While he won The Battle of The Bookshop, he loses The Battle of The Bananafish the next morning.

While Aziraphale stopped the attack on the shop-- his anxiety attack-- with the halo, we learn the next morning that then something else happened the prior night that we didn't see that is affecting the rest of 2.06. We hear about it from Aziraphale after Satan shows up in this bit here:

What's this, now? Aziraphale doesn't want to chinwag with The Metatron because they already chatted the night before and our angel doesn't think there's anything left to be said. Our angel says he's made his position quite clear.

So, The Metatron got on the circle thing zoom after Aziraphale discorporated demons with it and blew up his halo and, by that point, Aziraphale had had enough.

Aziraphale told The Metatron, in so many words, to go fuck himself.

This is really what Aziraphale is trying to say when he tells Crowley that he "did the thing with The Halo." Yes, he literally blew up his halo to discorporate the demons and stop the bookshop attack but the halo is his the weight of all of his cumulative trauma from Heaven... which makes it also, symbolically, The Metatron. Aziraphale blew up his ties to Heaven by telling off The Metatron. He told off the floating head hanging over his head as part of blowing up the halo crushing his mind.

So, Aziraphale then spent the whole night assuming correctly that, if you yell at Head Office, he's going to tell Satan that you're fair game.

Aziraphale doesn't want to fall. He doesn't want to be a demon-- not because he thinks of them as lesser beings because he doesn't think of them that way. Because being a demon is a terrible existence and Aziraphale would rather not have his soul be owned for all eternity by his partner's assailant who is also, literally, The Devil. He's a hard pass on that and had a plan to have Crowley help him avoid it.

Satan and other events made sure that he and Crowley couldn't communicate what they were thinking and feeling to one another openly from the time that Crowley left the bookshop with The Whickbers through the end of S2. If they had been able to and if Crowley had any idea what was truly going on, things would have been very different. The story is Aziraphale's fall, though, so it has to be bad for now to improve in S3.

Because it's Satan at the door with the coffee, he uses Crowley to identify him as The Metatron to everyone else and, so, has convinced Crowley that he *is* The Metatron and that Satan is nowhere in sight. Crowley doesn't see Aziraphale's fall coming, as can be the case with many people-- even those who know of the mental health challenges of those close to them.

Crowley thinks that the biggest threat to Aziraphale in The Final 15 is The Book of Life-- and, I suppose, in a symbolic way, it is.

The Book of Life-- in the way that Crowley thinks it exists-- is not real. It's his and Beez's anxieties from when they were angels manifested as a ghost story to tell more impressionable angels. Yet, as a concept? It kind of is sort of exactly what Aziraphale goes through in S2. He feels erased into non-existence by Heaven already and he's fighting for his life.

Right, so, a hundred years ago lol, I mentioned that Muriel is key to this idea. Let's look at how their presence is highlighting Aziraphale's issues and ushering him closer to death/falling.

While two angels with memory issues show up at Aziraphale's door in S2, Gabriel is a tale of hope while Muriel is a cautionary tale.

If your memories are "all your you"-- your sense of self, formed through your history-- then, while Gabriel was preserved in The Fly, the example of what can happen without one?

The horror show of a total and complete, catastrophic loss of a sense of self? So... death?

That's Muriel.

There is an angel named Muriel in some Western Christian traditions who becomes a figure called The Abaddon, which is The Angel of Death. The Abaddon factors into different takes on Revelations and apocryphal Biblical stuff. There are several different ideas on who The Abaddon is, though my understanding is that their role as The Angel of Death who brings souls to their final judgement is pretty universal throughout.

In some traditions, The Abaddon is seen as the antichrist. In others, it's Satan. In S1, Good Omens played around with some characters seeing the role of The Abaddon in these ways during Armageddon: Round One through how the Satanic nuns referred to the antichrist baby and Satan as "The Angel of The Bottomless Pit", which is the descriptive phrase given to The Abaddon in multiple different religious writings.

In other religious traditions, though, The Abaddon is thought to be an angel of Heaven or a trio of angels of Heaven. It's these ideas that I think Good Omens is playing with in S2 with, I feel, the heavier emphasis on the true Abaddon being the one most frequently referred to that way-- Muriel. Also supporting the idea of Muriel as Death is that there is also that a character in Salinger's "A Perfect Day for Bananafish" with that name. Muriel is the one set to inherit the main character's wealth and property after he kills himself at the end of the story.

So, how is our lovebug Muriel The Angel of Death?!

For that, we have to look at what a fall is.

Consider that The Metatron can tell Satan that an angel is fair game but, in order for that angel to actually fall to Hell, they have to fail to resist Satan's temptation. What the show is subtly saying is that every angel who is a demon is not just an angel who got caught out saying or doing something that threatened The Metatron's power but, also, an angel who was also already falling into despair and, so, couldn't resist Satan when he came to claim their soul.

The literal fall that happens-- the "freestyle dive into a pit of boiling sulphur", as Crowley called it-- is a symbolic thing that happens after an angel has been unable to resist Satan and, so, is now considered by Heaven and Hell to be a demon.

If you consider that the way the literal fall has been described-- going off a cliff; the parallels to Gabriel nearly jumping out a window-- all of these are images of ways that people sometimes kill themselves. Heaven and Hell come at angels and demons from a place of abuse that pushes them towards suicide. Even in S1, it wasn't straight out murder that Crowley and Aziraphale faced-- they were both forced into what, to Heaven and Hell, would have seen as committing forms of suicide. Crowley getting into a bath of holy water; Aziraphale stepping into hellfire.

So, we're saying that the physical fall happens after an angel has already fallen, and that, in order to fall to Hell, an angel has to have already first fallen into despair.

If the show wants Aziraphale to fall in the Heaven/Hell sense of it, he has to have a mental health breakdown and I'm reminded that the opening credits of this show are Crowley and Aziraphale walking the Earth with all of their history layering up behind them and following along with them and then they go up and up and up on a track in S2 and stop just prior to?

Falling off the edge. The literal fall is what we've stopped just short of but, all along so far, we've been watching the fall in progress build.

The reason why we've never been "shown a fall" on Good Omens is actually because the whole story to date is Aziraphale's fall. It doesn't even really start with S2-- it started long, long ago. It also, though, really kicked into gear just prior to the start of S2, as is noted a bit in this moment here:

Nina asks if everything being weird started the prior week when the power went out and Aziraphale replies:

Trauma is like that. It can be things that happened in your metaphorical 2500 BC that are coming back to bite you in your 2023 AD. It's cumulative. It builds and pushes. You can go and go and go and then, one day, your power just goes out. Your energy to fight is just gone and a storm is brewing. A series of events can push someone who is in an already vulnerable mental health state towards a full on fall into despair and that is what I think S2 is fundamentally about.

S2 is a suicide narrative. Our Clarence Aziraphale is going a bit George Bailey. Even as, on the one hand, he's taking big steps forward to claim more of the life he wants, it's the underlying trauma that he hasn't yet been able to fully deal with that is making him also, at the same time, begin to quietly wonder if those around him would be better off if he were not in their lives.

This is why the most dangerous character in S2 is not Satan or The Metatron.

It is, quietly, Muriel.

How so?

Because when people begin to have more frequent suicidal thoughts, their reasons for living that usually keep them going begin to change to being more of a list of obstacles that are preventing them from death. As a person falls into depression to a point that they begin to feel like maybe everyone around them would be better off if they weren't there, they begin in their minds to try to "solve" the problems that are keeping them from dying. They try-- not always super-consciously-- to set things up in such a way so as to convince themselves that their ties to the Earth will be neatly resolved with minimal bother for anyone else and, more importantly, that all their loved ones will be set up to be fine without them.

People in despair can-- and will-- come up with what are, objectively, absolutely bonkers rationales because, ultimately, they want coffee but they are in such despair that they thinking about ordering death.

Muriel's arrival means that Aziraphale then basically has a solution to every obstacle in his mind in such a way that he clears a path straight to taking his life. They help solve two of his "obstacles": Crowley and the problem of the bookshop.

Muriel is dangerous because they show up at the door with the same curious, upbeat, enthusiastic personality and sense of wonder at the magic of the world that Crowley both loves in Aziraphale and needs in his life.

Muriel is also who can take the bookshop. They're an angel who needs an escape and who loves books and Earth. They're perfect for it. Aziraphale is also horrified to realize that Muriel doesn't recognize him and what the implications of that are and he feels guilty about not having saved them somehow. They begin to represent his self-determined failures and giving them the shop would be, in his mind, making some of that right.

To Aziraphale, Muriel is the cheer and hope that Crowley needs in his life and they've taken to each other like ducks to water, which is then also coming after Aziraphale has subtly been pairing up his partner with the also-immortal-and-traumatized archangel with whom Crowley has much in common and whom we are told in S2 that Aziraphale knows that Crowley finds attractive.

Shax pops up throughout to help show some of Aziraphale's dark thoughts about himself.

What are you, Aziraphale? Crowley's emotional support angel? The one who went native? Do you need more big, human meals, Aziraphale?

The comments in Edinburgh that are not really about the car. It's really more like Aziraphale calling himself "an old piece of junk" and thinking Crowley deserves the chance to get an upgrade to someone better. Gabriel's good-looking and has been through much of the same as Crowley. Muriel is upbeat and makes Crowley smile. Crowley having friends who are supernatural is a great thing but, under the surface, it's also leading Aziraphale to create an inner narrative where he's telling himself that he's replaceable in parts by Gabriel and Muriel and that he wouldn't be leaving Crowley alone if he were to take his own life.

Aziraphale is telling himself that maybe the best way to love Crowley is to make it so that Crowley doesn't have to deal with him.

What did Crowley say about his stars once? The first time they met?

Six thousand years-- that's nothing.

Engine won't even have properly warmed up by then.

Crowley's borderline-immortal. He'll live forever. Six thousand years is a blink of the eye to them. He'll get over me, Aziraphale is telling himself, and find someone worth spending eternity with.

Aziraphale didn't see a path towards death until Muriel's arrival because he didn't fully have a solution to the bookshop and Crowley. That's what makes that adorable moppet of an angel the deadliest character in S2.

The reason why Muriel leapfrogs over every other character and makes it down to the last, pivotal minutes of Crowley and Aziraphale's story in The Final 15-- in a part of the story where even Gabriel is gone-- is because Muriel is death.

It's because this is all about whether or not Aziraphale is going to take the freedom of coffee from Mr. Six Shots of Espresso and live or whether he's going to take the false freedom of the lies he's telling himself from Satan and die.

Is he going to try to take his own life or is he going to find a way through this time, as he has before?

"It's just you and me, Aziraphale." What a statement that is.

It's both true and a complete lie.

Crowley and Muriel are both still in the room when Satan says that so, objectively, it's not really just him and Aziraphale... except that he is controlling Muriel and Crowley in different ways. In that way, it really is only Satan and Aziraphale left by this point. It's down, by that point, to just whether or not Aziraphale is going to live and since Satan is here for him, it's not looking great.

Satan is the embodiment of Aziraphale's life or death choice here and that choice, in many ways, is the only two other beings left in the shop at that point.

It's Crowley or Muriel. It's life or death.

Satan also as Aziraphale's darkest thoughts, really... as Aziraphale's internal dialogue playing out.

What about my bookshop? he asks himself.

Really: What about my life?

Muriel, replies Satan... replies the darkness... replies Aziraphale to himself.

You could entrust it to Muriel.

They need an escape. You'd be doing them a great favor. You'd be sacrificing yourself for them and redeeming yourself for failing to save them. It'd make what you're thinking of doing noble, actually. It'd make it okay. It'd make you a good person.

Aziraphale struggles, right? He almost doesn't do this. He almost says he thinks he's making a mistake because he knows he is. It's just that his every conflict has come up all at once and overwhelmed him.

Even still, the darkness has him pretty solidly-- but not completely-- until this moment right here:

Aziraphale is no fool and he's questioned the idea that this is The Metatron; he's actually trying to tell Crowley that he thinks it's Satan for much of That Scene in the bookshop and to get Crowley to see it and help him, in case it is. Aziraphale hopes he's wrong, though, because he wants it to be The Metatron because he thinks that is the way to fix things but it's not and he knows it, deep down. He doubles down because he's embarrassed, because he feels foolish and afraid and like he has nothing to offer Crowley without the power he thinks he lacks.

Satan's temptation, though, ultimately works because of the final of the death by a thousand cuts here in the whole "Second Coming" moment.

After Satan gets Aziraphale to leave the shop with him to head to Heaven, he, as The Metatron, flatters Aziraphale a bit. He says the things that Aziraphale has always wanted someone in Heaven to say to him. He tells Aziraphale he's needed and that they specifically need and appreciate who he is-- an angel who knows how things are done on Earth. It's validating who Aziraphale is and who is he proud of being in the way that Aziraphale has always wished would happen.

Aziraphale is hurting so much that he starts to wonder if maybe he was wrong about all of this. He was pretty sure before but, maybe, just maybe, he was wrong and he wants to be wrong because then it means maybe that he'd know who he is. Maybe it would mean he would no longer have to be an angel who goes along with Heaven as far as he can because Heaven would be finally starting to see the light.

Maybe this isn't Satan. Maybe it really is The Metatron. Maybe all of this is real. Maybe he can go to Heaven and take this job and really have the power to protect Crowley and they won't have to be afraid anymore.

Then, Satan drops the bomb. He fires the killshot.

He lets Aziraphale hear him say "we call it 'The Second Coming'" while pretending he didn't mean for Aziraphale to hear it.

This is the moment that Aziraphale knows it was all a lie.

He knows for sure who that is now. He has gone from being 98% sure to a full 100%. He knows that it's not The Metatron but Satan holding open the elevator.

Satan had to tell him, as it's the only thing Satan has to do in some form at the end-- because it has to be Aziraphale's choice. Satan sure as fuck doesn't have to be fair about it-- and he definitely wasn't-- but it's at this moment that Aziraphale knows with absolute certainty that there isn't a job offer.

How could there be if The Second Coming is on the table? They'll never put Aziraphale in charge of Heaven with Armageddon as the agenda. He's the angel who stopped it the last time. It means that Aziraphale knows for sure that, if he gets into the elevator, he's effectively killing himself, because this is all to entrap and kill him, not to promote him.

Satan sets it up so that the final things Aziraphale is thinking about when he makes the choice are that there is no chance that Heaven will ever improve and that they're going to do Armageddon again and just keep doing it until it happens and it's all hopeless and Aziraphale will never have the power to protect Crowley and they're going to just keep living this nightmare forever and he's been doing this for thousands of years and he can't take it anymore.

People who are suicidal are stuck in cycles of their lives they feel they can't get out of and that's exactly what Aziraphale is reminded of in the moment before he gets into the elevator.

He doesn't want death-- he wants coffee.

He wants Crowley, standing appropriately in front of Give Me Coffee or Give Me Death, with the coffee art and the blues and greens of Earth all around him. The canopy plants in the backseat. This is what Aziraphale wants but he just doesn't know how to get there anymore and the darkness wins out. The villains always win a battle at this part of the story or else there's no plot left going forward and there is a forward because it's Aziraphale. There are ways back from this but that's for S3.

Give Me Coffee or Give Me Death, as we know, is substituting the word coffee for the word liberty in the original quote and that's exactly what happens in Aziraphale's decision to get into the elevator. The truth is revealed-- there is no job, which makes him feel like there is no way to ever be free while living. He's exhausted by fighting the same battles, over and over, with no way to escape in sight, and takes what he thinks is the freedom of not suffering anymore.

He chooses the false freedom of death over the true freedom of living-- Satan's coffee over Mr. Six Shots of Espresso in a Big Cup-- because Aziraphale loves that espresso more than anything but he struggles to love himself. He thinks, in that moment of despair, that the best way to love Crowley is to set him free by leaving life.

It's the Job minisode foreshadowing all of it and going back to the start of his story for the end.

It's nothing important, Aziraphale, don't worry...

Just your kids, your house, your businesses, your money, your neighbors, your street, your car, your books, your friends, your community, your Earth and the love of your life.

Just all the love and magic of the world.

Just all your you. Just your life...

When the first shot of the season was the skies sweeping down towards the front of the shop door... and the final shot of the shop in S2 is The Angel of Death-- Muriel-- entering it alone, claiming it and closing the door? When the light goes off in the bookshop window?

When Aziraphale-- after running around with a paralleling clipboard for half an episode-- leaves a note on the dash for his wife, like International Express Delivery Dude did in S1? When his "I love you, Maud" is the car playing Crowley "A Nightingale Sang in Berkeley Square"? That's when we can see why Death appeared to Aziraphale at the end of S1 and has been headed his way since.

Satan's temptation, yes, but executed with the help of The Angel of Death, who helped push Aziraphale into the lift with The Devil and not towards Crowley and The Bentley, where Aziraphale's love has always been willing to give him a lift, anywhere he wants to go.

In a show where people are symbolically what they profess that it is that they do-- midwifery/cobblering, conjuring, "seamstressing" and so on... all of those things are positive. They're about helping others and loving the world. With that in mind?

Go back and look at Muriel's arrival at the bookshop again...

What is adorable is, also, a fucking horror movie of a declaration:

Muriel is a human police officer.

Friends... that's Death.

Muriel is the only one with a horrible self-declared profession. They're not helping birth ideas and babies and art and mending everyone's pain. They're not a working, professional magician helping to develop the street. They're not a healing seamstress. They don't sell old films and records and books. They don't feed anyone at their restaurant or sell musical instruments to nourish their lives. They aren't the best guy on the block-- Mr. Brown and his World of Carpets, giving people what they need to outfit a life of their own. They're the not a member of The Whickber Street Shopkeepers and Traders Association-- like their paralleling Jim becomes as he begins to regain the will to live.

Crowley is worried about caring for Gabriel being too much for Aziraphale but it's really Muriel that is a walking trigger for him.

Gabriel is a character people think is a villain who is really a lovebug; Muriel is a character people think is a lovebug but who is, symbolically, the worst possible thing to ever show up on your doorstep.

Gabriel is saying books are keen and hot chocolate is amazing and live, live, live, live, Aziraphale...

He's the part of Aziraphale's mind that is trying to save himself while Muriel is the part that is luring him towards death.

Muriel is saying the best part of a cupperty is to look at it, Aziraphale.

It's not for you. You're an angel. You aren't supposed to want to live your own life. You aren't supposed to have wants and needs at all. Even if you go into that back room to be with Crowley alone and try to shut me out, I will break down the door and come after both of you before too long is up.

Muriel is cosplaying Earth's most invasive and violent profession and they're so sweet about it that it tends to bury the eeriness of their arrival. In Muriel, Aziraphale is confronted with his paralyzing perfectionism, his negative self-worth, his rampant imposter syndrome, and his excessive self-sacrificing-- all at once.

All his negative feelings are here at the door in the form of this fun house mirror version of himself-- a cheery and also clinically depressed angel, who is actually cosplaying humanity the way Aziraphale always feels like he is, even if he knows at the core that he's every bit as human as the billions on Earth.

The world is for the professional conjurers, for the humans, for everyone but Aziraphale, in his mind. He is supposed to be above needing any of it. He is supposed to never be angry, anxious, tired, depressed, hungry. He isn't supposed to need the home and books and music and food and sex and magic that he lives for. This angel isn't supposed to be a member of The Whickber Street Shopkeepers and Traders Association but he founded the street, let alone the group, and he'll die trying to host a meeting because nothing makes him feel more himself than when he lets himself be a part of the world.

Muriel's presence worsens his depression spiral, which we've seen is what happens when the negative thoughts get to be too much.

In S2, he goes a sherry-and-stomach-settling-drop diet. He doesn't eat the eccles cakes. He doesn't slow down and enjoy much of anything. Part of the joy of the ox rib scene is that Aziraphale isn't really enjoying himself that much in the present in S2 and it's the only thing like it in S2. Aziraphale, in S2, has put himself and his demon on half-rations and talks about his frozen peas to his fellow duck less. He goes back and forth between trying to self-care (Shostakovich and going to the Gabriel statue and brief moments of flirting with Crowley) and self-neglect (the entire rest of the season lol). Mix in too many additional stressors like what S2 had and it goes from the anxious period of fasting in 1967 to the cause for big time alarm that is S2.

Intellectually, Aziraphale knows that mindful human living is prescriptive. He saves Gabriel by starting to teach him what he knows about it. There's always been a little voice whispering at Aziraphale, though, that it might be right for others but that doesn't mean he's supposed to feel or need those things. He should be above it because that, apparently, would make him the good person that he doesn't often believe he is. His feelings aren't even about being an angel in the Heaven sense so much as in the human anxious perfectionist sense, in that he's excessively self-sacrificing because he doesn't fundamentally believe he's a good person.

There's nothing wrong with being as kind and generous to people as you can. It's when you're doing that while also not acknowledging that you are a person with wants and needs at the same time that you can self-sacrifice yourself right off a cliff as a way of trying to convince yourself that you're not a bad person.

You can deny yourself the life you want out of the excuse that it's your purpose only to care for everyone else but it's not really virtuous. It's a form of self-harm.

What hurts so much about S2 is 1941 because the minisode then gives us Crowley and Aziraphale slaying demons left and right. It gives us what a good day looks like in a whole season that is, otherwise, a series of bad days mixed with things that are also not within their control that then lead to the worst, possible ending.

We see, really, how good they are at caring for one another. The kiss scene is made infinitely more painful by us having seen in the 1941 minisode another conversation in the same spot in bookshop when Aziraphale was struggling with these same issues that went so very differently.

Crowley is very good at gently reminding Aziraphale that, not only is he wonderful, but that he's a person, too, and that everyone feels like they are jiggery-pokery sometimes. Everyone struggles with the voices of others and themselves trying to judge them and how that impacts a sense of self. That fighting through that to be able to live and love is, unfortunately, a pretty common experience of being a person.

This is not new for Aziraphale. It's so very old, stirred up hardcore in S2, now that it's been four years since Heaven contacted him. Aziraphale doesn't know that it's because Gabriel is trying to protect him. He thinks he's so inconsequential that Heaven couldn't even be assed to send someone to formally fire him and take the bookshop embassy that, despite being something of an albatross around Aziraphale's neck, he's also really proud of having built.

Aziraphale wants Heaven to fuck off but he also feels embarrassed by the fact that Heaven could fuck off so easily and that he feels like he doesn't have a friend there to speak of after thousands of years. He is ashamed of it needing to be Crowley who gets them a contact for info in Shax because he sees it as more dangerous for Crowley to need to be in contract with the demons and as a failure to protect him-- the thing that's at the core of Satan's temptation at the end of the season. (Also why Crowley is trying not to tell him about Shax taking his job and his conversation with Beez, which is a huge mistake but it's coming from a good place.)

Surely, Aziraphale thinks, if he hasn't fallen and he's still an angel... if he still is one, he's not really sure, as what is a non-working angel?... then, if he were good, there'd be some angel up there who would still be talking to him. He knows Heaven isn't good, exactly, but not all of the angels are terrible. As anyone who has ever had to go no contact with an abusive family knows, the illogical doubts that creep up can make a person think that maybe they're the wrong ones. At your worst, you can wonder: if the whole family thinks you're wrong, are you really right? Aziraphale knows he is right but it gets complicated.

Add to that the stress of worrying that something will happen to Crowley every time he goes out the door (part of Aziraphale's own trauma for millennia, made worse by 1827), and Crowley's PTSD exacerbated by the fire in S1, and Aziraphale's negative self-thoughts are being triggered even worse than usual. He's blaming himself for them not being safe, when that's not fully within his control... which, in Aziraphale's mind, is the whole problem and an example of how he is failing Crowley.

This is all long before Gabriel shows up at the door and the season gets started with a series of events that then worsen Aziraphale's state of mind. By the time Muriel shows up at the door, these negative kinds of thoughts out in full force in Aziraphale and Muriel represents them.

Muriel might be cute as a button and, as a character in their own right, being used left and right by Heaven, but it doesn't change the fact that Muriel is, symbolically, a mashup of the human and supernatural cops trying to kill them that Crowley and Aziraphale have been outrunning their whole lives.

The Angel of Death is a cop because of course they are, right? What other group of people has been existing to entrap, imprison, torture and kill people for eons?

From the book: If you want to imagine the future, imagine a boy and his dog and his friends. And a summer that never ends.

S1 was summer. It was the nightingales.

S2 is the lingering doom of preparations for Christmas lights. It's the days getting shorter and colder. The nightingales have flown to warmer climates. Because this is Good Omens so the season of Aziraphale's fall is set in the season of... well, the fall.

The good news is that, both literally and metaphorically?

Summer is always just around the corner.

[mentallyfukup]

[gooeseyleo]

Projecting my fears onto him

[beefcliff]

5.

[thescarletnargacuga]

THE BULL

A HARLEQUIN AU CAINE SONGFIC

Harlequin AU and ART credit: @tadc-harlequin-au @iamespecter

WARNING: angst, PTSD, guilt, anxiety, regret, alcohol

~~~

Caine dropped the empty bottle. Numb all over, he slouched in his office chair. His mind finally stopped screaming. Dizzying nothingness awaited him. It was the only potential bit of peace he knew.

Each and everyday, hiding from the sunshine

Wandering in the shade

Not too old, not too young

His soul still aches. That never changed no matter how much he drank. A pain that could never be silenced.

Every night again

Dancing with the moonlight

Somewhere far away, I can hear your call

A giant black bull, covered in colorful eyes, burst through the door. The horned shadow charged Caine, plowing through his desk and throwing him through the wall behind him.

I'm out of my head, of my heart and my mind

Cuz you can run but you can't hide

I'm going to make you mine

Caine fell way too far before hitting ground. Getting up, the City of Circuits was on fire. Human families ran and screamed with their children. Puppets brandishing weapons pursued. Gunfire and explosions made his ears ring.

Out of my head, of my heart and my mind

Cuz I can feel how your flesh now Is crying out for more

The bull was back. Charging through the swarms of panicked people. It didn't touch them, having a clear path through the chaos to Caine. He tried to run. The ground beneath him crumbled.

Ain't No fairy tail what I see in your eyes

Awaiting your mistakes

Not too close, not too far

The abyss that swallowed him was lined with abstract eyes. He landed in something liquid. He couldn't stay afloat, no matter how hard he tried to swim. He went under, hitting the bottom. It was made of glass.

Sneaking in the pain

Every truth becomes lie

I won't trust myself

Once I hear your call

The roar of the bull was the only warning before impact. The glass prison shattered. The force of the bull tossed Caine like a ragdoll across the hard floor. It's hooves trampled him, excruciating pain stabbed his abdomen and head.

I'm out of my head, of my heart and my mind

Cuz you can run but you can't hide

I'm going to make you mine

He saw what he thought was Pomni. She was high up on a platform. He reached out for her. She jumped. She landed face first into the floor, it broke on impact and she disappeared below.

Out of my head, of my heart and my mind

Cuz I can feel your flesh now

Is crying out for more

He screamed. He cried until his voice was gone. Then he was surrounded by Pomni. Over one thousand stoic harlequins stared at him. He couldn't look at them. He heard the bull again.

I'm out of my head, of my heart and my mind

The bull charged through and the harlequins turned into hundreds of thousands of photos. The faces burned off of all of them. Caine was struck again. He didn't even try to get out of the way this time.

Out of my head, of my heart and my mind

The blizzard of photographs cleared to reveal scorched earth. The ground was littered with humans and puppets alike. Marionettes of all sizes lurked in the shadows.

I'm out of my head, of my heart and my mind

Cuz you can run but you can't hide

I'm going to make you mine

Caine stood alone in a dead world. Only the bull remained. It pawed the ground and snorted, its many eyes all focused on him. He closed his eyes as it charged.

Out of my head, of my heart and my mind

Cuz I can feel how your flesh now is crying out for more...

The roar of the bull was the last thing Caine heard before he jolted awake. He was soaked with sweat and alcohol. Bottles littered the floor around his desk. He held his head in his hands. His whole body trembled.

He deserves this.

And he knew why.

~~~

ADDITIONAL ART BY SPECTER HERE!!

[themindofmine]

I just have this overflowing feeling of hopelessness about my future

[macfrog]

walking through fire | one shot

just something that's been on my mind the last few weeks. i hope that you're all ok going into this difficult time of year. and if there's any part of this, big or small, that you find yourself resonating with - there will always be a warm, cozy chair in my inbox/dms, free for you to come sit, hang; we can talk about everything or nothing at all. love you guys. 🤍

pairing: joel miller x fem!reader

summary: you’re neck-deep in a bout of seasonal depression. your boyfriend suggests an autumnal walk. (better than most healthcare systems offer amarite)

warnings: quite literally about depression & anxiety so please read at your own discretion. established relationship, fluffy soft!joel takes care of his girl, implied suicidal thoughts, use of medication to treat depression/anxiety, feelings of worthlessness/burdening, but hope! in the end! a wee sliver of hope!

word count: 2.7k

main masterlist | follow @macfroglets w notifs on to be the first to hear when i post 🖤

November turns on itself all too quickly.

Your body feels like lead, sinking deep into the mattress. Like a broken, rusted shipwreck at the bottom of the ocean; your hand lying limp above the bedsheets like a sailor’s last attempt at reaching over the waves for help.

Joel opened the blinds today. Nuzzled into you, the scruff of his beard sharp on your numb skin, and then stood up and slowly unveiled the glaring light of white cloud. You shrunk further into the bed, your hot breath suffocating you under the sheets. Inhaling and exhaling, breathing in your own rotten air.

He pushes the door open and shuffles across to the bed. Your sea dips when he lowers into it, two arms slipping around your waist like a lifebuoy. He pulls you into his chest; his warm body melting the ice of your bones.

“Hey,” he whispers, and drags his nose across your cheek. He kisses your temple, combs his fingers through your hair. Dabs his thumb along your bottom lip and then says again, “Hey, darlin’. You awake?”

Your eyes flutter open, only enough to see the blurry shape of him; the strong curve of his shoulder, the binary of dark cotton and pale skin.

“Hi, baby. How you feelin’ this mornin’?”

The words catch on the dry cliff of your throat, dangling for a few seconds like panicking climbers, before plummeting into the abyss. You settle for an incoherent mumbling, a vibration on your lips that Joel understands through the pad of his thumb.

“Yeah,” he sniffs, “not so good, huh? That’s okay. You know how much I love you?”

And that peels your eyes open a fraction more. Only enough to sharpen the image of him, to find the dark pools of his eyes and the way the flame in them flickers as he says it.

“Love you so much,” he whispers. The tiny fire thaws the very bottom of your heart, even if only enough to keep the blood pushing heavily through your veins.

Your eyes close over again, and you take his shirt in two weak fists, pulling yourself into his body. Your head fits in the crook of his arm, burying into his side.

“You feel like leavin’ the house today?” he asks, voice sweet and earnest. “Just for a little while? We could go for a walk, could go for a drive. Just you ‘n me, sweet girl.”

You shake your head, your eyes prickling from the sincerity of his question. The guilt beginning to creep its way over your shoulders.

“No? You don’t wanna?” He lifts his head, staring out at the view from the window. “’s a nice day out. Cold, but it’s dry, ‘n the leaves are all orange and yellow, just like you like. Not even for a half hour?”

That same guilt – sneering, bullying – pokes a sharp-clawed finger in your ribs until you answer him. “Tired,” you mumble, screwing your eyes shut until you see the sudden, violent assault of stars in your vision.

“I know you’re tired, baby,” Joel says, stroking your back. “But it might do you a little good to get some fresh air. And you’d be with me, and we can come back home whenever you decide.”

Your fear and shame seem to cower beneath his words; melted by the soft timbre of his voice. They retreat inward, burrowing deep between the cage of your ribs, twisting and mangling around your pale bones.

“We can come back whenever?” you whisper, defying their threats.

“Whenever, darlin’. Promise.”

You surrender yourself, letting him take you in his arms and carry you over to your closet, where he sets you down gently. Keeping an arm around your waist, Joel waits patiently as you pick an outfit, and then helps drape it over your frame. You feel more statue than human – solid substance rather than plush flesh. Cold and brittle; the tender touch and lively glow drained from your skin the same way it drains so quickly of energy.

You’ve been fighting for years. Months and months and months of one step at a time and just keep going. Being told you’re more than what’s going on in your brain, being told not to let it become you. But there are days when you stand before the mirror, and you don’t recognize the figure staring back at you. The dark tunnels in place of eyes, the thin line of her lips.

There are days you can see the marks on your skin from how tight your anxiety and depression bind you; wrapping like ivy around your body until there’s nothing left of you to see through the dark green leaves. Just a haggard, shapeless thing. A skeleton too tired to carry the weight of yourself; a heart too weary to beat in time.

There once existed a time you had smiled, even laughed – you know it, you have the lines scored deep into your cheeks to prove it. Sometimes they ache when you think about it, like even they miss the feeling. Joel knows it, too – you sense it whenever he tells some dumb joke, sense that he’s searching your face for the slightest lift, the slightest dip of a dimple. And it fucking kills you, when you realize you have nothing sincere or true to offer him. No swollen cheeks, no flash of teeth. At best, a heavier exhale pushed from your nostrils.

It all feels so long ago, that lighter, fresher, happier you. It feels so far from your clutches. Like you’re drifting further and further from the surface, disappearing into the murky depths of your own mind.

The doctors, the articles, the fucking motivational posts on Instagram all say the same. Keep fighting it. Confront your illness. Prove it wrong. But you’re so fucking tired of fighting. Fighting it the entire drive to work, your heart threatening to burst; fighting it every conversation you have, your façade slowly cracking. Swallowing the panic like you swallow the medication; both of them sticking in your throat and refusing to go down.

There is no fighting it. There is no overcoming through confrontation. If you broke your leg, shattered every bone to dust, would they say the same? You gotta walk on it straight away to make it strong again. You don’t think so.

Joel doesn’t seem to think so, either. Joel, with a heart of molten gold, ready at every turn to let it pour onto your skin and paint it the color of sunlight when you can’t do it yourself. Joel, with his strong arms and wide reach, bundling you up over the top of all that foul ivy and snapping its thick stems with just his fingers.

Joel, who will sit at the edge of your bed and watch you take your meds; kiss your forehead and squeeze you tight when you show him your empty mouth. Joel, who will hold you in the dead of night and tell you stupid stories about his brother when they were kids, rubbing your back and chasing the dark ghosts from your mind.

Joel, who still sees something in you – whether he’s imagining it or not – and decides each day that it’s worth protecting. Worth saving. You’re worth saving, even on the days you don’t believe it yourself.

He drives for ten minutes, a little out of the suburbs and into a thicket of fire-colored leaves and solid, frozen ground. Fall sinks its teeth deep into the roots of the earth, drying up the bloom of summer and replacing it with something harder, something tougher. Nature is dying in the November breeze – the amber leaves painted the color of the trees’ blood as they fight a losing battle against the shifting of time. You feel yourself decaying with it: a drawn-out, painful surrender to the bleak days and dark nights.

Joel keeps his hand on your thigh the entire ride; you keep your fingers intertwined with his. The fluttering in your chest gets quicker and quicker, spreads its wings wider the further you feel from home. Your mouth dries up, forcing you to swallow after every third breath. But his hand stays there, planted on you like the root of an ancient tree: never shifting, no matter how strong the wind throws punches.

A shaky breath falls from your lips when he slows to a halt, the truck parked by a long wooden gate. He cuts the engine and turns to you, squeezing your leg lightly.

“We’re just gonna walk down there,” he nods out the window, “and back again. As slow as you like, ‘n we turn back when?”

“Whenever I want,” you whisper, nodding.

“Whenever you want, darlin’. Just say the word, alright? Sound good?”

You nod, blinking away the strain of tears across your vision. Your knee bounces, the metal buckles on your boots clinking in the footwell.

Joel rubs his thumb against your cheek. Lifts your free hand and places a delicate kiss to your knuckles. “I am so proud of you,” he mumbles against them, like scoring it into the bone.

You fill your cheeks, flattening your lips together, and he pulls on his door handle.

Five paces from the car, you realize how cold it is. The bitter air snaps at your cheeks, drags the salty tears from your eyes. Joel quickly fixes the collar of your jacket and pulls your scarf over your face.

“You bring gloves?” he asks.

Your head shakes in response.

“Here.” He fishes in the pockets of his tan jacket for a dark brown pair, flicking his fingers for you to hold your quivering hands out. He slips them on, all too big for you, and then knots his fingers through yours and leads you on down the sloping backroad.

Bordered by tall trees on either side, you feel secluded and hidden from the rest of the world. It fills you with equal parts comfort and terror: nobody else is here. No one can see your vacant eyes, the wet stain of fallen tears on your cheeks. Not the vice grip you have on your boyfriend or the weak quiver of your voice.

And at the same time: nobody else is here. No people, no sign of life. Just an isolated track, the looming trees overhead, the squelch of muck and the bite of fall for company.

Joel matches your pace, strolling along by your side with your arm through his and his hand resting on top of yours. He catches your glances over your shoulder, sees the jittery movements of your head as you scan the scene around you, and pats the back of your hand tenderly.

“Take a deep breath for me.”

You fill your lungs with a chilly gulp of air, pushing it back out again as steadily as you can.

“And again.”

You repeat the exercise, your chest swelling against your buttoned up coat.

“You’re doin’ great,” he says, looking down at you. “You feelin’ okay?”

“I’m – Yeah, I’m just…” you twist back to search for the wooden gate, “…can’t see the truck anymore.”

“’s right there, promise ya. You wanna go back?”

He pauses, and your boots scuff to a halt on the stony terrain. You chew the inside of your cheek, eyebrows arching to release more tears from between your lashes. “No,” you breathe, “I wanna try to go further.”

“Then let’s try to go further. Yeah?”

You nod, setting off when you realize he’s waiting for you to take the lead.

The fields on either side of you are strung with a thick blanket of mist from one end to the other, masking the trees at the opposite side and obscuring the line between earth and sky. Your body close to Joel’s, your heartbeat attempting to match the steady pace of his, you feel safe, protected. The promise that you can call it a day whenever your body begins to weigh too much, whenever your lungs begin to falter.

Somewhere between the thinning of the hedgerows, another slanted, shabby gate materializes. Its crisscross panels and worn wooden posts separating you from the first company in your twenty-minute walk.

“Joel,” you call, loosening your grip on his arm and wandering over to the long, dewy grass towards a chestnut horse, a sliver of white fur diving deep between her eyes.

She slowly thumps over, huge hooves sinking deep into the soft dirt. Her long tail swishing, navy rug wrapped around her midriff. She docks at the gate, puffing a heavy breath – hot, thick clouds shooting from each nostril.

“Hi,” you say quietly, lifting a floppy-gloved hand for her to sniff. “Joel?” you say again, glancing down at her swollen belly, the low droop of the rug. “I think she might be pregnant.”

She tosses her head up, ears flicking, and nuzzles into the soft material of Joel’s glove. You feel her wrinkled muzzle, the strong, solid bridge of her nose. She blinks slowly; huge, deep brown eyes twinkling in the late-morning light, and you swear she’s trying to communicate something to you.

“Hey, girl,” Joel says, running a careful hand down her mane.

The horse sighs serenely, eyes flitting between the two of you. Her nostrils flare gently, light brown lashes fluttering. You tilt your head, stroking her and letting her teeth graze the sleeve of your jacket. Her bulky head turns to-and-fro, glancing up and down the trail you’re stood on, contently waiting for the passage of time. Enjoying her view from the misty field before it all changes again.

Unexpected and unwelcome, the absence of compression in your chest suddenly makes itself known. Dread spills into your lungs, thick like tar. You turn on your heel and cast Joel one fleeting glance.

He catches it, and without missing a beat, asks, “You ready to go?”

“Yeah,” you say. “Is that okay?”

“’s more ‘n okay, baby. You did so good today. Didn’t she?” he asks the horse, who huffs another hot breath. Joel tosses a thumb towards her. “See?”

You step back over to the animal, now preparing to wander back on home, and give her one last tender stroke. She blinks twice, tosses her head a final time, and her broad body turns, thudding off back up the slope.

As he links your arms again, Joel blinks down at you, the corners of his mouth slowly lifting.

“What?” you ask, shyly.

“Look at you,” he says, nudging your shoulder with a glint in his eye. “You’re smilin’.”

Autumn flashes by as Joel drives you home – ginger and bronze and honey and cinnamon blurring into one as you pass them by. You settle back against the headrest, moving with the sway of the truck, your tired fingers tracing blind shapes on Joel’s palm.

Nature is burning. Perhaps dying is too harsh a term. Burning in preparation for the winter, when it will lay dormant and restful. Quiet, save for the crunch of snow beneath your feet. Bland, save for the sparkle of frost on your windowpanes. The droplets of beauty laced through, the little reminders that not all has been lost.

I am burning right now, the earth says, but wait until you see what I can become.

The days will turn to night. The sun will tear the sky to tatters, set the whole thing fucking ablaze, go down in a battle stained in red and orange and deep, dark blue – and she will still return, spilling golden all over the horizon. She always does.

The clouds will cover overhead, dampening the color on earth. The blues will fade to gray, the yellows will undoubtedly pale. And then the sky will clear, when it is ready; the clouds will break in two to let a ribbon of cerulean burst through.

The leaves will fall to the ground and feed the soil; new ones will sprout from buds left in their wake. The ground will thaw, will soften again in time to welcome the push of daisies and burst of heather. The horse will foal, the birds will sing to their babies, the buzz of insects will irritate your ears; the rivers will gush and the trees will sway and you will be okay again.

You will be okay again.

[moonstruckme]

Hii how are u? i'm feeling kinda anxious today so can i request a poly!marauders or just remus where they/he comfort r because she's scared about the future please?

this is like a personal request because i'm in my 20s and i know i should find a job and i want to but i'm terrified bc i don't like to interact with new people😭 and every single night when i reflect on my future i just get so scared and anxious and i hate i was born like this because my younger sisters are more outgoing than me and they have no problems but i just feel kind of pathethic yk🫠 SORRY FOR VENTING IN UR BOX IT'S JUST BC I LOVE YOUR WRITING BUT FEEL FREE TO IGNORE THISIF YOU DON'T FEEL COMFORTABLE🙏😖

Hi lovely, don't be sorry! I'm sorry you're so anxious. Wishing you the best and thanks for requesting <3

cw: anxiety

Remus Lupin x fem!reader ♡ 483 words

Remus lets his hand lay heavy on your head, thumb stroking your temple while hot tears carve paths across your face to dampen your pillow. He’s better than you would be, brown eyes watching you patiently from the pillow next to yours. He knows you need to cry it out.

“I hate seeing you so wound up over this,” he murmurs once you’ve calmed. His thumb is still moving steadily over your skin. “You’re making it ten times worse in your head, lovely girl.” 

You make a hum of dissent, and despite your exhaustion another tear dribbles onto the bridge of your nose. “There’s no way around it,” you say, whispering to avoid a squeak in your voice. “I can’t just never talk to people.” 

“But you don’t have to do it all at once.” There’s a slight indent in Remus’ forehead, but aside from that his face is gentle and kind. He believes in you. “We can take baby steps, work up to the scary stuff.” 

“I can’t.” You sound pathetic to your own ears, but Remus only tsks.

“Yeah you can, dove. You can talk to people, and meet new ones, I know you can.” He shifts his head slightly on the pillow, waiting until you look at him. “You met me.” 

Your lips give a tug. That was easy. James had practically forced the two of you together. “You’re nice, though,” you say, “and quiet. You were never hard to talk to.” 

Remus gives you a fond look. “There are other nice and quiet people out there.” 

“Not like you.” 

He rolls on top of you, groaning in a shoddy attempt to cover his amusement. “Perhaps not,” he allows, and when you sigh he imitates it sympathetically, dropping his chin to your chest. “Still, some might come close. Not everyone is rude and loud.” 

“I’ve seen no evidence to the contrary.” You pick up a piece of hair from over his ear, curling it around your finger. “Look at Sirius.” 

“If Sirius represents humanity, then we’re all fucked.” He turns his head to kiss the inside of your wrist. You’re trying to distract from the original topic, and Remus knows it. “You make a good point, dove. If you can handle Sirius, talking to anyone else will be a breeze.” 

You look away, sulky. Remus chuckles. He reaches up to scratch lightly at your scalp. “Let me help you with the small things,” he bargains, voice downy-soft and soothing, “and when you’re ready for the bigger stuff, I’ll be there with a hug for after. Okay?” 

Your sigh is hefty enough to ruffle the ends of his hair. “You can’t just come with me and hold my hand?” you ask, only partly teasing. 

Remus’ smile shows he can tell. “Afraid not, sweetheart, but don’t worry. You’re braver than you think. I know you can do just fine on your own.”