#age: 1967

[olderfcs]

carrie-anne moss gif pack

CLICK THE SOURCE LINK BELOW and you will find #58 245x150px gifs of Carrie-Anne Moss as Jeri Hogarth in Iron Fist Season One (2017). These were created from scratch by Sveja. Do what you want with these, just don't repost/claim as your own, don't use them to play Carrie-Anne or in any smut/smut-based blogs, and like/reblog if using. Carrie-Anne was 49-50 during filming and is white.

tw: drinking, flashing lights, food, shaky camera, violence

[captainfantasticalright]

1967: you go too fast for me Crowley, or the year the Wolfenden report actually came into effect.

It is no secret that in 1957 the Wolfenden Committee recommended the decriminalisation of private homosexual activity between consenting adults over the age of 21, but with heavier penalties against homosexual activity in public places.

This is precisely what Anathema thinks of when she comments in the book that her book had been left in the back of the car of 'two consenting cycle repairmen'.

Not only does that inform us as readers that the characters within the book perceive Crowley and Aziraphale as being a couple, especially by the (arguably) cleverest witch in the book, but also that their appearances (physical corporations) do in fact look older than 21 years old. (the age of consent)*

*It would take until the 2000s for the age of consent to be equalised, and for lesbian, gay, bisexual and transgender personnel to be able to serve openly in the armed forces.

But coming back to the term 'consenting' and the significance within the overall plot of Good Omens series-wise is the fact that they chose 1967, precisely 10 years later after the Wolfenden report and the year the Sexual Offences Act was passed (which decriminalised private homosexual acts between men aged over 21 in England and Wales, while at the same time imposing heavier penalties on street offences) as a crucial point in storytelling.

This is the last scene we see of them after the montage; this is precisely the point where Aziraphale makes that big, first move towards Crowley and manifests himself inside of the Bentley to protect him from a burglary that could have ended in disaster. This is Aziraphale stepping outside from his own box and venturing into admitting that yes, he would enjoy Crowley's company as more than just an Arrangement. He would like the picnics, he would like to dine openly with him.

And this comes precisely at a time, a real world setting where even the Archbishop of Canterbury agreed, saying: “There is a sacred realm of privacy ... into which the law, generally speaking, must not intrude" (referring to homosexuality).

Although we know Aziraphale and Crowley are not men, but rather men-shaped beings of the world, there is something to be said about how the 1967 act reflects on Aziraphale's 'heavenly' beliefs and how that can be attributed not only to homosexuality*, but also a realm of privacy where neither Heaven or Hell (religion itself) need to interfere with his affairs.

*we do know, however, how much the book and tv series lean into Aziraphale being 'gay', at least in our human understanding of labels and categorizing even though he is not; "pansy" "nancy boys" "gayer than a treeful of monkeys on nitrous oxide" (this one specifically marking Aziraphale canonically in the book as appearing to be a homosexual) "you've got the wrong shop" among others.

A real life anecdote from the time says: John Carter was 17 at the time and doesn’t have a clear memory of the bill passing; he only realised the significance of the change with hindsight. He came out in the early 70s, after making contact with his university’s gay society, which wouldn’t have existed were it not for decriminalisation. “It meant that people could meet … and freely associate.” That was crucial, he says, because, “if you don’t even have a space where you can go, then people are cruising, they’re cottaging * ... It took many years for people who had been constantly looking over their shoulder, being worried, to develop proper ways of relating to each other. Ways that were not just based on sex or compromise or fear.”

*(No, cottaging is not living in a cottage)

No matter that the law had been passed, there was still a lot of stigma surrounding the word 'homosexual'. It wasn't until the 80s and 90s that it stopped being a crime in Scotland and Ireland; being further stigmatized with the AIDS crisis in the late 80s.

Regardless of the nature of the open confession Aziraphale lays bare to Crowley in 1967, it most definitely can be read as a 'coming out' for him. Perhaps not dealing with sexuality directly, but with religion layered on top of that. It is still too fast despite of the year, in spite of the millennia worked together under false pretenses. But it is an exterior, real life push that reinforces the idea for him to see that- if humans are able to recognize that man could be with man and not call it a crime, why could that same thinking not be applied to an angel and a demon living on Earth?

Aziraphale is doing more than blurting his heart out, he is openly hoping for the time that matches 1967 in its decriminalisation of homosexuality to one that applies for him and Crowley. So the thermos, the "better not" say thank you just yet, is a lingering promise to be there for when it finally happens. One which Crowley accepts with bare, open hands.

[brainwormcity]

I've seen people remark on how awkward the 1967 scene is and that is so frustrating because, for me, it is one of the most emotionally resonant flashbacks in the entire series. It is so multifaceted and ripe with implication and that assertion is baffling. As though just because this conversation appears to be hard for them, it must mean that there has to be some sense of weirdness or awkwardness between them?

This scene feeds heavily into my theory that 1941 ended in some sort of aborted romantic moment between the two, most likely initiated by Crowley. Aziraphale can barely stand to look at Crowley because the very first moment he looks him in the face, he can't stop himself from giving him this hooded eyes, barely contained look of longing.

The next thing we see is Aziraphale immediately launching into a statement about his fear for Crowley's existence that is as brutally sincere as it is heartrending. His eyes are wide, his voice is heavy with emotion, and it's clear that he is terrified beyond belief to lose Crowley. Even as he acquiesces and gives him the holy water, you can see that he wants to take it back and deny him it all over again.

Then, of course, Crowley asks if he can give him a lift, which is definitely something that they both know is a totally different question than what lies on the surface, given that they're mere feet from the bookshop and at first Crowley frowns so deeply that it's almost cartoonish but a moment after Aziraphale turns him down you get this glimpse of very real sadness:

Aziraphale sees it for what it is and in an attempt to comfort him, without being able to do what currently seems impossible to him, shares a fanciful but resigned fantasy about spending time together unbothered and unrestrained, all to the tune of these tight little, loving smiles:

When he asks again, you can just see Crowley's desperation for Aziraphale not to go. It's hard to say how long they'd been apart, but it's safe to say that for them, that previous interaction likely is very fresh in their minds.

Aziraphale has always been more fearful than Crowley when it comes to their feelings for each other. You could even potentially look at the holy water as a metaphor for their relationship. In his expressions of concern about The Arrangement, Aziraphale has always been remarking on how Crowley could be destroyed, similarly to his words here. So when he's telling him, "You go too fast for me, Crowley," what he's really saying is, "I'm terribly afraid and I'm not ready to take that step if it means that I could lose you." And it's plain to see by the wistful look on his face that it pains him greatly to say it:

The scene so quickly cuts to Crowley looking intensely at the holy water after Aziraphale has left the car (as if trying to convince you that that was the real point of the scene) that it's easy to miss this devastated expression on Crowley's face:

There's no look of perceived rejection on his face. Just a somber look of resignation. There are so many barriers in front of them, and I think that Crowley was willing to risk it but understood that Aziraphale wasn't ready to.

This is the most honest and laid bare we ever see these two be when it comes to their emotions. There's so much being said without being said and even their actual words (i.e. Crowley remembering exactly the amount of time when the 'fraternizing' conversation happened) are so full of emotion that it might even be a bit hard for some people to watch.

It's not awkward. It's just that the scene is just so incredibly earnest and heavy with coded language that it's easy to be swept up by the fact that the two aren't engaged in their typical banter and bickering. What we truly have here is an incredibly difficult and loving conversation between two people who are stuck in a seemingly impossible situation.

[radishprincesss]

faye dunaway 𓇢𓆸

[bennetsbonnet]

I've always been left disappointed by the endings of Pride and Prejudice adaptations because, for me, they never quite capture that satisfied feeling I get each time I finish reading the novel, as I close the book with a contended sigh and imagine Elizabeth and Mr Darcy's happy lives together.

That was until I watched Pride and Prejudice (1967) because this ending is, in my opinion, close to perfection. So, so good. I'll yell it from the rooftops: Run to YouTube and WATCH THIS ADAPTATION IMMEDIATELY!!

Seriously, despite being filmed on a toaster, the ending had me giggling, kicking my feet, twirling my hair etc. and now I need to share the loveliness with all of you.

The wedding takes place off-screen and the next time we see them post-proposal is as they journey back to Pemberley together:

(I appreciate the sign, just so we're 100% clear where they're off to!)

It's so romantic in the carriage. Look how much they're in love🥹!!

And there's a lovely exchange where Elizabeth teases Mr Darcy:

Look at his face!! He just realised that being the object of many jokes is how it's going to be for the rest of his life!

I won't spoil the dialogue but if, like me, you get frustrated that most adaptations omit the lovely post-engagement exchanges between the happy couple, where they discuss just how they ended up in love, then I promise P&P (1967) is going to leave you so satisfied.

But my favourite part is when the carriage stops on the grounds of Pemberley:

Darcy helps Elizabeth down in the sweetest manner and says 'welcome home, Mrs Darcy,'

before they walk off into their happily ever after together as the credits roll...🥺❤️

Just lovely. I cannot gush about it enough. If you have a spare couple of hours, it's definitely well worth a watch. You soon get used to the quality and even the accents, which sound very dated now, though I love how much character it brings to the whole thing to hear people speak in such a manner!

Plus, there is so much energy to this adaptation. It's not a stuffy old period drama by any means. It's wonderfully faithful to the book, well acted and even well-shot, for the time! It also benefits from not having the baggage of other adaptations hanging over it, that perhaps have influenced the interpretations of certain characters and dictated which scenes are included. I highly recommend it, it'll certainly help you look at the novel and characters in a fresh light!

[bluberryfields]

Sadly, there's not enough room in the poll for the iconic Heaven disguise, but it's always worth sharing

[rontra]

allura has known this since the 60s

[smile-files]

guys. i need your opinion of this. because i'm genuinely so confused now

what time period is the professor layton series in?? the prequel trilogy and the main trilogy. when are they supposed to be taking place

i could've sworn one of the games (though i forget which) mentions that someone's been to the moon already which would put them at least in the late 60s into the 70s going by our world's timeline... but i don't know maybe space travel was discovered earlier in this universe???

[comic-covers]

(1967)

[exquisiteaudrey]

Wait Until Dark, 1967🤍

[pinkfloyd-musicartnaturelove]

Left to right - Rick Wright, Syd Barrett and Roger Waters of British psychedelic rock group Pink Floyd at the timpani during rehearsals for their first concept show, 'Games for May -Space Age Relaxation for the Climax of Spring' at the Queen Elizabeth Hall in London, 12th May 1967.

(Photos by Nick Hale/Hulton Archive).

[radishprincesss]

faye dunaway in 1967

[idliketobeatree]

anyways if the 1941 almost-kiss, almost-something never happened and we are all being led astray then...... what even is THE POINT

[cas-poisoning]

The fact that people have parents that weren’t born in the late 60s (or early 70s) is so odd to me like that is THE parent age. Like wdym your parents were born in the 1980s and ur my age?? That’s actually insane wtf. Parents were not meant to be in high school in the 2000s…

[astronotmovie]

The view of Earth at 10,000 miles, taken during the unmanned Apollo 4 mission, Nov 1967.

[doo-wop-city]

Come with me and see the Doo Wop Wawa at nighttime!