#and all you wanted was Bastille

[justkellme]

Nothing more annoying than seeking the right sensation all day then going to play on a swing at night while listening to a specific song and the brain being like yep that’s what I was looking for. Bitch you told me you were looking for a taste.

[sophiethewitch1]

Hi! You've mentioned that 'What We Want' has a playlist. If it's not to spoilery (and you feel comfortable doing so) could you share some of the songs on it.

I hope you start feeling better soon. ❤️

oh my god im so glad someone asked!!! I'll share some of my favourite songs from the playlist, the ones that i think like... summarise the stories feeling the most. Idk. The ones with the highest vibe quality. Some of these you will actually see referenced in the fic later on lmao.

Here's the playlist for your listening pleasure

If you have any more questions, theories (what song relates to which character, where in the story, etc) please send it in! I love talking about this.

[luminous-faerie]

not me refreshing the line-up page for the festival near where i live every five minutes

[agoodflyting]

Why Aziraphale is completely ridiculous in the Bastille scene (and I love him so much for it)

A while ago I posted a comparison of Aziraphale and Crowley's costumes in the 1793 flashback in Good Omens and I wanted to add these little tidbits. (Because they haunt me.)

I feel like most people know this but IF YOU DON'T, Paris in 1793 is right in the middle of something called La Terreur.

HISTORY LESSON If you didn't learn this in school the French Revolution was when, after years of escalating social tension, a coalition representing the working classes of France revolted against the monarchy, violently overthrew King Louis XVI, and declared France to be a republic.

The new National Convention governing France ruled that King Louis XVI and his wife Marie Antoinette were traitors to the people of France because of how they had spent ridiculous amounts of money on luxuries for themselves while vast numbers of the lower classes were literally starving to death. (keep the bold in mind - wealth and class disparities were one of the key causes of the whole-ass revolution)

In 1793 (year of the flashback) both the King and Queen were executed by guillotine for their crimes.

This kicks of something called The Reign of Terror (La Terreur if you want to be French about it). A multi-year-long period in which the National Convention goes on a bloody witch hunt for any and every member of the middle or upper classes who could even possibly be considered a traitor by those same standards.

If you A) had money or privilege, and B) had ever used your money or privilege to treat yourself, you were getting executed. Over 25,000 people died during the Reign of Terror, half of them by guillotine. In fact, the iconic guillotine was used because it was physically impossible to keep up with the sheer number of people they were executing in Paris every single day.

Some things that could get you killed (actually and completely seriously) during the Reign of Terror:

Implying in any way you were sympathetic to the monarchy

Having a noble title

Having expensive things

Wearing expensive, luxurious clothes (*cough* AZIRAPHALE)

helping or sympathizing with anyone who did any of the above

a working-class person saying you were mean to them once

And then there's this bitch...

I AM NOBILITY PLEASE KILL ME So we have established that Paris in 1793 is in the middle of a frenzied, state-sanctioned bloodbath in which the working classes are massacring everyone even remotely nobility-adjacent. And in the middle of this frenzy, Aziraphale proceeds to roll up in Paris in this outfit:

How will this outfit get him killed? Let me count the ways...

First off- at this point everyone with even the tiniest shred of self- preservation is hiding the fact that they are in any way associated with the monarchy. The wealthy are straight-up abandoning mansions. The middle-class are plastering over decorations to make their house look 'poor'. The only people dressed remotely decent are the guys leading the National Convention and that's just because nobody can stop them. Everyone else is in 24/7 peasant cosplay or else they are covering themselves in cockades and sashes on to show they're pro-Republic.

Aziraphale is basically a giant shiny white sign saying I AM NOBILITY PLEASE KILL ME.

First off the lace jabot and lace cuffs are both associated with the old-school wealthy in the 1790's.

His coat is also decorated in gold braid and silver buttons, which are both marks of wealth and luxury.

He basically looks like he works for Louis XIV - not just rich, but old school rich.

We know it's his natural hair color, but hair powdering (with clay and starch) had been a big trend with the rich all throughout the 18th century to get that clean white venerable look . To someone who doesn't know it's natural, it would very much look like he's wearing hair powder.

He's wearing shades of cream and white, which are very hard to keep clean and clearly states that the wearer is rich and can afford the upkeep necessary to keep an outfit like that stain-free.

He's wearing white knee-breeches and stockings, also called culottes. See above about laundry and how rich you had to be to wear white, but also working-class men wore long pants like this:

A large faction involved in the Revolution were the Sans-Culottes (no-culottes aka we wear long pants LIKE GOOD OLD WORKING MEN). Culottes are specifically associated with everything the revolution hated. That's right - Aziraphale is literally wearing The Fanciest of Fancy Pants in a city where a group called The Men Against Fancy Pants are running around murdering people.

And then there are his shoes.

Oh god his shoes

I could do a whole post about Aziraphale's blessed little white satin pumps and how ridiculous they are.

Actually I might just do that because this is getting so long and I still have to talk about the brioche.

So I can't remember if it's in the script book or if it's from Neil Gaiman's tumblr, but it's apparently canon (?) that Aziraphale was going around in that outfit asking people where he could get crepes and brioche when he was arrested.

The Affair of the Brioches

So... uh... we've all heard the line attributed to Marie Antoinette- how when she was told that her people were starving because there was no bread left in Paris, she famously said...

It's morphed into 'let them eat cake', but the line is first recorded as, "Then let them eat brioches."

While it's unlikely she ever actually said it, the important thing is that... people in 1793 would have thought she said it. It was used as political smear to show how arrogant and out of touch the monarchy was. Marie Antoinette in particular was reviled by the people of France, who thought she was the main cause of their economic problems. That's why she was executed too.

Bread and brioche and the lines between poverty and privilege were a big thing in Revolutionary France. There was a lot of political connotation to what you ate. The French Revolution came about because of decades of suffering among the lower classes of France. It wasn't something that some dudes just decided to do. The people of Paris have been through years of the absolute worst, most oppressive poverty and starvation you can imagine, all while watching the rich throw money around crazy.

So let us recap.

Aziraphale is dressed so ridiculously posh that he looks like a joke parody of a nobleman... and he is bumbling around Paris during the Reign of Terror. Asking people. For brioche. How I imagine everyone looked at him:

It is so astoundingly tone deaf and tactless. He is basically cosplaying as Marie Antoinette and then going around asking the poor for cake.

I just.... Aziraphale. babygirl. no. oh no. You're lucky they even bothered to take you to prison. I am amazed Crowley ever let him live that down.

I have no conclusion other than this. Aziraphale is ridiculous and I love him so much.

YES YOU REALLY SHOULD SIR.

[mostlysignssomeportents]

The true, tactical significance of Project 2025

TODAY (July 14), I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! NEXT SATURDAY (July 20), I'm appearing in CHICAGO at Exile in Bookville.

Like you, I have heard a lot about Project 2025, the Heritage Foundation's roadmap for the actions that Trump should take if he wins the presidency. Given the Heritage Foundation's centrality to the American authoritarian project, it's about as awful and frightening as you might expect:

https://www.project2025.org/

But (nearly) all the reporting and commentary on Project 2025 badly misses the point. I've only read a single writer who immediately grasped the true significance of Project 2025: The American Prospect's Rick Perlstein, which is unsurprising, given Perlstein's stature as one of the left's most important historians of right wing movements:

https://prospect.org/politics/2024-07-10-project-2025-republican-presidencies-tradition/

As Perlstein points out, Project 2025 isn't new. The Heritage Foundation and its allies have prepared documents like this, with many identical policy prescriptions, in the run-up to many presidential elections. Perlstein argues that Warren G Harding's 1921 inaugural address captures much of its spirit, as did the Nixon campaign's 1973 vow to "move the country so far to the right 'you won’t even recognize it.'"

The threats to democracy and its institutions aren't new. The right has been bent on their destruction for more than a century. As Perlstein says, the point of taking note of this isn't to minimize the danger, rather, it's to contextualize it. The American right has, since the founding of the Republic, been bent on creating a system of hereditary aristocrats, who govern without "interference" from democratic institutions, so that their power to extract wealth from First Nations, working people, and the land itself is checked only by rivalries with other aristocrats. The project of the right is grounded in a belief in Providence: that God's favor shines on His best creations and elevates them to wealth and power. Elite status is proof of merit, and merit is "that which leads to elite status."

When a wealthy person founds an intergenerational dynasty of wealth and power, this is merely a hereditary meritocracy: a bloodline infused with God's favor. Sometimes, this belief is dressed up in caliper-wielding pseudoscience, with the "good bloodline" reflecting superior genetics and not the favor of the Almighty. Of course, a true American aristocrat gussies up his "race realism" with mystical nonsense: "God favored me with superior genes." The corollary, of course, is that you are poor because God doesn't favor you, or because your genes are bad, or because God punished you with bad genes.

So we should be alarmed by the right's agenda. We should be alarmed at how much ground it has gained, and how the right has stolen elections and Supreme Court seats to enshrine antimajoritarianism as a seemingly permanent fact of life, giving extremist minorities the power to impose their will on the rest of us, dooming us to a roasting planet, forced births, racist immiseration, and most expensive, worst-performing health industry in the world.

But for all that the right has bombed so many of the roads to a prosperous, humane future, it's a huge mistake to think of the right as a stable, unified force, marching to victory after inevitable victory. The American right is a brittle coalition led by a handful of plutocrats who have convinced a large number of turkeys to vote for Christmas.

The right wing coalition needs to pander to forced-birth extremists, racist extremist, Christian Dominionist extremists (of several types), frothing anti-Communist cranks, vicious homophobes and transphobes, etc, etc. Pandering to all these groups isn't easy: for one thing, they often want opposite things – the post-Roe forced birth policies that followed the Dobbs decision are wildly unpopular among conservatives, with the exception of a clutch of totally unhinged maniacs that the party relies on as part of a much larger coalition. Even more unpopular are policies banning birth control, like the ones laid out in Project 2025. Less popular still: the proposed ban on no-fault divorce. Each of these policies have different constituencies to whom they are very popular, but when you put them together, you get Dan Savage's "Husbands you can't leave, pregnancies you can't prevent or terminate, politicians you can't vote out of office":

https://twitter.com/fakedansavage/status/1805680183065854083

The constituency for "husbands you can't leave, pregnancies you can't prevent or terminate, politicians you can't vote out of office" is very small. Almost no one in the GOP coalition is voting for all of this, they're voting for one or two of these things and holding their noses when it comes to the rest.

Take the "libertarian" wing of the GOP: its members do favor personal liberty…it's just that they favor low taxes for them more than personal liberty for you. The kind of lunatic who'd vote for a dead gopher if it would knock a quarter off his tax bill will happily allow his coalition partners to rape pregnant women with unnecessary transvaginal ultrasounds and force them to carry unwanted fetuses to term if that's the price he has to pay to save a nickel in taxes:

https://pluralistic.net/2021/09/29/jubilance/#tolerable-racism

And, of course, the religious maniacs who profess a total commitment to Biblical virtue but worship Trump, Gaetz, Limbaugh, Gingrich, Reagan, and the whole panoply of cheating, lying, kid-fiddling, dope-addled refugees from a Jack Chick tract know that these men never gave a shit about Jesus, the Apostles or the Ten Commandments – but they'll vote for 'em because it will get them school prayer, total abortion bans, and unregulated "home schooling" so they can brainwash a generation of Biblical literalists who think the Earth is 5,000 years old and that Jesus was white and super into rich people.

Time and again, the leaders of the conservative movement prove themselves capable of acts of breathtaking cruelty, and undoubtedly many of them are depraved sadists who genuinely enjoy the suffering of their enemies (think of Trump lickspittle Steven Miller's undisguised glee at the thought of parents who would never be reunited with children after being separated at the border). But it's a mistake to think that "the cruelty is the point." The point of the cruelty is to assemble and maintain the coalition. Cruelty is the tactic. Power is the point:

https://pluralistic.net/2022/03/09/turkeys-voting-for-christmas/#culture-wars

The right has assembled a lot of power. They did so by maintaining unity among people who have irreconcilable ethics and goals. Think of the pro-genocide coalition that includes far-right Jewish ethno-nationalists, antisemitic apocalyptic Christians who believe they are hastening the end-times, and Islamophobes of every description, from War On Terror relics to Hindu nationalists.

This is quite an improbable coalition, and while I deplore its goals, I can't help but be impressed by its cohesion. Can you imagine the kind of behind-the-scenes work it takes to get antisemites who think Jews secretly control the world to lobby with Zionists? Or to get Zionists to work alongside of Holocaust-denying pencilneck Hitler wannabes whose biggest regret is not bringing their armbands to Charlottesville?

Which brings me back to Project 2025 and its true significance. As Perlstein writes, Project 2025 is a mess. Clocking in an 900 pages, large sections of Project 2025 flatly contradict each other, while other sections contain subtle contradictions that you wouldn't notice unless you were schooled in the specialized argot of the far right's jargon and history.

For example, Project 2025 calls for defunding government agencies and repurposing the same agencies to carry out various spectacular atrocities. Both actions are deplorable, but they're also mutually exclusive. Project 2025 demands four different, completely irreconcilable versions of US trade policy. But at least that's better than Project 2025's chapter on monetary policy, which simply lays out every right wing theory of money and then throws up its hands and recommends none of them.

Perlstein says that these conflicts, blank spots and contradictions are the most important parts of Project 2025. They are the fracture lines in the coalition: the conflicting ideas that have enough support that neither side can triumph over the other. These are the conflicts that are so central to the priorities of blocs that are so important to the coalition that they must be included, even though that inclusion constitutes a blinking "LOOK AT ME" sign telling us where the right is ready to split apart.

The right is really good at this. Perlstein points to Nixon's expansion of affirmative action, undertaken to sow division between Black and white workers. We need to get better at it.

So far, we've lavished attention on the clearest and most emphatic proposals in Project 2025 – for understandable reasons. These are the things they say they want to do. It would be reckless to ignore them. But they've been saying things like this for a century. These demands constitute a compelling argument for fighting them as a matter of urgency, with the intention of winning. And to win, we need to split apart their coalition.

Perlstein calls on us to dissect Project 2025, to cleave it at its joints. To do so, he says we need to understand its antecedents, like Nixon's "Malek Manual," a roadmap for destroying the lives of civil servants who failed to show sufficient loyalty to Nixon. For example, the Malek Manual lays out a "Traveling Salesman Technique" whereby a government employee would be given duties "criss-crossing him across the country to towns (hopefully with the worst accommodations possible) of a population of 20,000 or under. Until his wife threatens him with divorce unless he quits, you have him out of town and out of the way":

https://www.google.com/books/edition/Final_Report_on_Violations_and_Abuses_of/0dRLO9vzQF0C?hl=en&gbpv=1&dq=%22organization+of+a+political+personnel+office+and+program%22&pg=PA161&printsec=frontcover

It's no coincidence that leftist historians of the right are getting a lot of attention. Trumpism didn't come out of nowhere – Trump is way too stupid and undisciplined to be a cause – he's an effect. In his excellent, bestselling new history of the right in the early 1990s, When the Clock Broke, Josh Ganz shows us the swamp that bred Trump, with such main characters as the fascist eugenicist Sam Francis:

https://us.macmillan.com/books/9780374605445/whentheclockbroke

Ganz joins the likes of the Know Your Enemy podcast, an indispensable history of reactionary movements that does excellent work in tracing the fracture lines in the right coalition:

https://www.patreon.com/posts/when-clock-broke-106803105

Progressives are also an uneasy coalition that is easily splintered. As Naomi Klein argues in her essential Doppelganger, the liberal-left coalition is inherently unstable and contains the seeds of its own destruction:

https://pluralistic.net/2023/09/05/not-that-naomi/#if-the-naomi-be-klein-youre-doing-just-fine

Liberals have been the senior partner in that coalition, and their commitment to preserving institutions for their own sake (rather than because of what they can do to advance human thriving) has produced generations of weak and ineffectual responses to the crises of terminal-stage capitalism, like the idea that student-debt cancellation should be means-tested:

https://pluralistic.net/2022/05/03/utopia-of-rules/#in-triplicate

The last bid for an American aristocracy was repelled by rejecting institutions, not preserving them. When the Supreme Court thwarted the New Deal, FDR announced his intention to pack the court, and then began the process of doing so (which included no-holds-barred attacks on foot-draggers in his own party). Not for nothing, this is more-or-less what Lincoln did when SCOTUS blocked Reconstruction:

https://pluralistic.net/2020/09/20/judicial-equilibria/#pack-the-court

But the liberals who lead the progressive movement dismiss packing the court as unserious and impractical – notwithstanding the fact that they have no plan for rescuing America from the bribe-taking extremists, the credibly accused rapist, and the three who stole their robes. Ultimately, liberals defend SCOTUS because it is the Supreme Court. I defended SCOTUS, too – while it was still a vestigial organ of the rights revolution, which improved the lives of millions of Americans. Human rights are worth defending, SCOTUS isn't. If SCOTUS gets in the way of human rights, then screw SCOTUS. Sideline it. Pack it. Make it a joke.

Fuck it.

This isn't to argue for left seccession from the progressive coalition. As we just saw in France, splitting at this moment is an invitation to literal fascist takeover:

https://jacobin.com/2024/07/melenchon-macron-france-left-winner

But if there's one thing that the rise of Trumpism has proven, it's that parties are not immune to being wrestled away from their establishment leaderships by radical groups:

https://pluralistic.net/2023/06/16/that-boy-aint-right/#dinos-rinos-and-dunnos

What's more, there's a much stronger natural coalition that the left can mobilize: workers. Being a worker – that is, paying your bills from wages, instead of profits – isn't an ideology you can change, it's a fact. A Christian nationalist can change their beliefs and then they will no longer be a Christian nationalist. But no matter what a worker believes, they are still a worker – they still have a irreconcilable conflict with people whose money comes from profits, speculation, or rents. There is no objectively fair way to divide the profits a worker's labor generates – your boss will always pay you as little of that surplus as he can. The more wages you take home, the less profit there is for your boss, the fewer dividends there are for his shareholders, and the less there is to pay to rentiers:

https://pluralistic.net/2024/04/19/make-them-afraid/#fear-is-their-mind-killer

Reviving the role of workers in their unions, and of unions in the Democratic party, is the key to building the in-party power we need to drag the party to real solutions – strong antimonopoly action, urgent climate action, protections for gender, racial and sexual minorities, and decent housing, education and health care.

The alternative to a worker-led Democratic Party is a Democratic Party run by its elites, whose dictates and policies are inescapably illegitimate. As Hamilton Nolan writes, the completely reasonable (and extremely urgent) discussion about Biden's capacity to defeat Trump has been derailed by the Democrats' undemocratic structure. Ultimately, the decision to have an open convention or to double down on a candidate whose campaign has been marred by significant deficits is down to a clutch of party officials who operate without any formal limits or authority:

https://www.hamiltonnolan.com/p/the-hole-at-the-heart-of-the-democratic

Jettisoning Biden because George Clooney (or Nancy Pelosi) told us to is never going to feel legitimate to his supporters in the party. But if the movement for an open convention came from grassroots-dominated unions who themselves dominated the party – as was the case, until the Reagan revolution – then there'd be a sense that the party had constituents, and it was acting on its behalf.

Reviving the labor movement after 40 years of Reaganomic war on workers may sound like a tall order, but we are living through a labor renaissance, and the long-banked embers of labor radicalism are reigniting. What's more, repelling fascism is what workers' movements do. The business community will always sell you out to the Nazis in exchange for low taxes, cheap labor and loose regulation.

But workers, organized around their class interests, stand strong. Last week, we lost one of labor's brightest flames. Jane McAlevey, a virtuoso labor organizer and trainer of labor organizers, died of cancer at 57:

https://jacobin.com/2024/07/jane-mcalevey-strategy-organizing-obituary

McAlevey fought to win. She was skeptical of platitudes like "speaking truth to power," always demanding an explanation for how the speech would become action. In her classic book A Collective Bargain, she describes how she built worker power:

https://pluralistic.net/2023/04/23/a-collective-bargain/

McAlevey helped organize a string of successful strikes, including the 2019 LA teachers' strike. Her method was straightforward: all you have to do to win a strike or a union drive is figure out how to convince every single worker in the shop to back the union. That's all.

Of course, it's harder than it sounds. All the problems that plague every coalition – especially the progressive liberal/left coalition – are present on the shop floor. Some workers don't like each other. Some don't see their interests aligned with others. Some are ornery. Some are convinced that victory is impossible.

McAlevey laid out a program for organizing that involved figuring out how to reach every single worker, to converse with them, listen to them, understand them, and win them over. I've never read or heard anyone speak more clearly, practically and inspirationally about coalition building.

Biden was never my candidate. I supported three other candidates ahead of him in 2020. When he got into office and started doing a small number of things I really liked, it didn't make me like him. I knew who he was: the Senator from MBNA, whose long political career was full of bills, votes and speeches that proved that while we might have some common goals, we didn't want the same America or the same world.

My interest in Biden over the past four years has had two areas of focus: how can I get him to do more of the things that will make us all better off, and do less of the things that make the world worse. When I think about the next four years, I'm thinking about the same things. A Trump presidency will contain far more bad things and far fewer good ones.

Many people I like and trust have pointed out that they don't like Biden and think he will be a bad president, but they think Trump will be much worse. To limit Biden's harms, leftists have to take over the Democratic Party and the progressive movement, so that he's hemmed in by his power base. To limit Trump's harms, leftists have to identify the fracture lines in the right coalition and drive deep wedges into them, shattering his power base.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/14/fracture-lines/#disassembly-manual

[vivelegalite]

dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.

there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...

i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears

this list is by no means complete or comprehensive!

and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)

found heaven by conan gray

the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).

2. like real people do by hozier

"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?

3. flaws by bastille

not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.

4. a pearl by mitski

you know it's gonna get intense if there's a mitski song in the mix.

the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".

5. fair by the amazing devil

this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.

the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.

6. work song by hozier

if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:

when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her

HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?

verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.

in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.

7. orpheus by vincent lima

i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.

8. francesca by hozier

(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.

as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.

the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.

"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.

the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.

to wrap it all up:

jayden, what were you cooking in there? what do you know??

[krummholz-go]

The Final 15 - Aziraphale’s Perspective

I see a lot of empathy for Crowley’s experience during the final 15 minutes of season 2 and it makes sense that we feel deeply for him. What he is experiencing is very human - acknowledging the depth of his own feelings, plucking up the courage to say something, having it come out all wrong, feeling utterly rejected, and then walking away in a mix of pain and anger. Who among us hasn’t been there?

But Aziraphale is experiencing something more complicated, something fewer of us have analogs for. Aziraphale has internally acknowledged his feelings for Crowley for some period of time, probably at least since 1941. Michael Sheen confirms this mental state in a NYCC 2018 interview:

“I decided early on that Aziraphale just loves Crowley. And that’s difficult for him because they are on opposite sides and he doesn’t agree with him on stuff. But it does really help as an actor to go, ‘My objective in this scene is to not show you how much I love you and just gaze longingly at you.’”

Unlike Crowley, Aziraphale’s struggle isn’t acknowledging his feelings. His struggle appears to be two-fold: 1) believing that Crowley could ever love him back and 2) even if Crowley did love him, believing a future for the two of them together could exist within the restrictions of his larger world view.

Can Crowley love?

Angels are, traditionally, beings of love. We see Aziraphale embody this time and again, showing kindness and support to almost everyone he meets, including the amnesiac Gabriel who has treated him abominably in the past. He is attuned to love, remarking on how the area around Tadfield “feels loved” twice in Season 1. As for how Aziraphale personally understands and expresses love, he shows his love to others through verbal affirmation and, to a lesser extent, physical touch. There are many examples of Aziraphale expressing his love for Crowley through positive verbal affirmation, typically by praising him for instances where he has been kind, nice, or good. And on the rare occasions when Aziraphale receives verbal praise, he absolutely interprets it as an expression of love, blossoming with happiness.

But from Aziraphale’s perspective, it may be unclear if Crowley can feel love in the same way. Can demons love? Did he lose that capability when he fell? Crowley can’t feel the aura of love in Tadfield that Aziraphale remarks on, and his reactions to Aziraphale’s praise are always to shrug it off, tell Aziraphale to “shut up,” or in the most extreme case to physically slam him against a wall and get in his face about it. In this last instance he tells Aziraphale, “I’m a demon, I’m not nice. I'm never nice. Nice is a four-letter word.” A four-letter word, like love, that is not in Crowley’s self-defined vocabulary.

If Crowley can feel love, does he love Aziraphale?

Even if Aziraphale believes Crowley is capable of feeling love, he does not always recognize how Crowley expresses it in the moment. Crowley shows his love for Aziraphale through actions, but Aziraphale often misconstrues Crowley’s motivations. In 1793 when Crowley rescues him from the Bastille, Aziraphale initially assumes Crowley is only there because he is responsible for the Reign of Terror. Similarly, in 1941, Aziraphale’s reaction to Crowley’s appearance is to assume he’s just part of the Nazi gang, saying,“I should have known. Of course. These people are working for you!”

Crowley doesn’t help matters in this regard because he is constantly muting and undercutting his signals to Aziraphale. Every time Crowley expresses his love for Aziraphale through actions - rescuing him, saving his books, even taking him to lunch - he does so in a nonchalant, dismissive manner, indicating he ascribes little value or importance to the actions he has performed. “I just didn’t want to see you embarrassed,” he says when he appears in 1941. And when Aziraphale positively glows with happiness about his books being saved, Crowley tells him to “shut up."On top of these confusing signals, Crowley is almost pathologically incapable of expressing his feelings in the verbal love language that Aziraphale can understand. This is heartbreakingly demonstrated in this scene after the bookshop fire:

Crowley can’t even say “I lost you.” Instead he speaks of Aziraphale in the third person while sitting in front of him, saying, “I lost my best friend.” The little hitch on Aziraphale’s face when he hears this is just devastating. Who is Crowley talking about? The last conversation they had before this scene was when Aziraphale called while Hastur was in Crowley’s apartment and Crowley said, “Not a good time - got an old friend here.” Aziraphale is left to wonder - is that who Crowley means when he says "best friend?" Crowley is everything to Aziraphale, but what is he to Crowley?

How Would It Even Work?

Even when Aziraphale does get flashes of the possibility that Crowley may care for him he immediately runs up against his second mental block - there is no world he can imagine where they could be together. When Crowley first suggests running off together in the bandstand scene in S1E3, Aziraphale collapses under the thought: “Friends? We aren’t friends. We are an angel and a demon. We have nothing whatsoever in common. I don’t even like you.”

While he is obviously in denial, Aziraphale is also under tremendous stress in this moment and is desperately trying to hold onto some stability by falling back onto his world view and ideology. In this state he backpedals all the way to “I don’t even like you.” In his understanding of the way the universe is supposed to work, he and Crowley are hereditary enemies and should not even be friends, much less in love. Aziraphale expresses this core belief throughout the series. What kind of existence could they ever have together in reality?

The Final 15

With this as a background, we can better understand what Aziraphale experiences in the final 15 minutes. Even before the Metatron enters the scene, Aziraphale begins to have his fundamental beliefs challenged which puts him off his footing. The revelation that Gabriel and Beelzebub are in love is deeply impactful. When Beelzebub says “I just found something that mattered more to me than choosing sides” and takes Gabriel’s hand, Aziraphale immediately reaches out to make contact with Crowley, a look of incredulity on his face. Here is proof that demons can feel love and that an angel and a demon can carve out a space together. The road may be difficult, but it is not impossible.

Before Aziraphale can digest this revelation the stakes are ratcheted up: Michael threatens to erase Aziraphale from the Book of Life due to his part in hiding Gabriel. The future that Aziraphale has just barely glimpsed is already under siege. It is at this point that The Metatron enters, offering Aziraphale not just survival and protection, but a version of everything he has ever wanted.

If Crowley is reinstated as an angel, Aziraphale will no longer have to wonder whether Crowley is capable of feeling love. And if they are both angels, there will be no conflict inherent in having a life together. In one fell swoop, the Metatron entices Aziraphale with a future where there are no remaining blockers to an eternal, loving existence with Crowley. It will be “like the old times, only even nicer” because they now have millennia of their shared history to build on together. Of course this logic is horribly flawed and does not take into account at all what Crowley wants, but in the moment it must feel like an enormous gift to Aziraphale.

Unfortunately, not only is Crowley’s reaction to this “incredibly good news” not what Aziraphale expects, the conversation quickly takes a baffling turn for him. Crowley shuts down the talk about returning to heaven and attempts to say what he wants to say. Sadly he once again utterly fails to speak in a way that Aziraphale can understand.

The audience knows what Crowley is trying to say because we have the context of his earlier conversation with Maggie and Nina. But Aziraphale lacks that and thus can’t understand where this is coming from or what it means. Rather than expressing his feelings as Beelzebub and Gabriel did, Crowley recites facts: we’ve known each other a long time, we’ve been on this planet a long time, I could always rely on you, you could always rely on me. He can’t even say the word “couple” when he describes them, referring to them more as colleagues with words like “team” and “group.” And the one time he does try to express his feelings and desires he is physically unable to get out the words: “And I would like to spend—.” He then retreats into his old plea to turn away from heaven and hell and run off together. Nowhere in Crowley’s confession does Aziraphale hear “I love you” or even “I want to be with you.” What he hears instead is what he’s heard multiple times before - Crowley wants to abandon both heaven and hell and default to just the two of them. From Aziraphale’s perspective this will not solve anything for them. They will still be an angel and a demon, at some level fundamentally separated by their very natures.

Having failed in his speech, Crowley then does two things in rapid succession that must be excruciatingly painful for Aziraphale. First, he does the opposite of verbal affirmation by calling Aziraphale an idiot. We have seen Aziraphale become physically radiant in the rare instances where Crowley has praised him, so a direct insult like this must feel poisonous. Then Crowley makes a last desperate attempt to communicate through Aziraphale’s other love language - physical touch - by initiating the kiss. But without context or understanding of what is behind it, Aziraphale can initially only experience it as forceful, angry, and shocking. With more time to parse it I think Aziraphale will come to understand Crowley’s meaning, but in the moment it must feel manipulative and borderline cruel.

The Results

In a very compressed time frame, Aziraphale has to move quickly and radically through multiple mental and emotional states. For 6000 years he has believed he and Crowley cannot be together. Suddenly, with the revelation of Gabriel and Beezlebub, that foundational belief is challenged. Before he can work through what that could mean for him and Crowley, the Metatron offers an even cleaner solution - they can be protected from retribution and be on the same side again. When Crowley rejects reinstatement wholesale, it makes Aziraphale feel that he and his loving offer of a life together have been personally rejected. Then that rejection is further confused through the shocking experience of the kiss which Aziraphale does not have adequate context for or time to understand and integrate. In his emotional turmoil, Aziraphale falls back on his default crutch for dealing with sadness and anger - forgiveness - which further cuts him off from Crowley. Taken all together, this is a tumultuous rollercoaster of whiplash emotions that pull at every part of Aziraphale's self- and world-views.

Compared to what Crowley is going through, I think Aziraphale is going to have the tougher road in Season 3. Crowley may still need to better reconcile and integrate his feelings for Aziraphale, but Aziraphale has 6000 years of foundational ideology to challenge and evolve to reach a place where he and Crowley can be together as their authentic selves.

[hotshotsxyz]

love dresses up in many ways

(buddie)(8x07 spec)(881 words) how about a little not-evil spec? as a treat title from yet another bastille song

“Buck,” Eddie says flatly as soon as he opens the door.

Buck pastes on his most charming smile. “Eddie,” he replies.

“I’m one person.” He steps back to let Buck in anyway.

“One person that’s choosing joy!” Buck reminds him sunnily, kicking the door shut behind him.  

Eddie grins and leans against the wall. “I am,” he acknowledges. “Pretty sure I don’t need to overdose on baked goods to achieve that.”

“Sure you do!” Buck exclaims. “Besides, this one’s focaccia. There’s like, a vegetable in it.”

Eddie snorts and rolls his eyes. “Oh, well, if there’s a vegetable…”

“See, I knew you’d come around.” Buck makes his way into the kitchen to drop off the focaccia (and the pound cake and the brownies, but shh, who’s counting?).

“Grab a couple beers?” Eddie calls after him.

He opens the fridge and finds a six pack of a fruited wheat beer he’s never seen before and grins. It’s not that he’s actually all that excited to try You’re My Boy Blueberry Wheat Ale, but man, it’s hard to put into words just how much he likes seeing Eddie try news things just for the fun of them. There’re a few familiar sours in there, too, but fuck it. Buck grabs two of the blue-labeled bottles and heads back into the living room.

“I reserve the right to pour this out and get a new one if it’s weird,” Buck announces, popping the top off Eddie’s and handing it to him.

“Mm,” Eddie replies. He takes a tentative sip, then his face blooms into one of those easy smiles Buck’s seeing more and more of these days. “S’not weird,” he says. “It’s good.”

“Yeah?” Buck asks.

Eddie shrugs. “Guess you’ll have to try it for yourself.”

“Guess so,” Buck murmurs before taking a sip of his own.

To his genuine surprise, it is good. Better than he expected. Like maybe-his-new-favorite-beer better.

“Okay, yeah,” Buck says, dropping down onto the couch next to Eddie. “Not weird.”

Eddie grins at him, so bright that Buck kind of wants to look away, but also maybe never stop looking.

“So what inspired today’s round of baking?” Eddie asks, knocking his knee against Buck’s.

Unbidden, an image of Eddie’s bare thigh pops into Buck’s head. He brushes it away because—

Anyway, he brushes it away.

“I dunno, Eds,” Buck says with a sigh. “I just— I think I’m a little stuck. In—in my own head, I mean. About, you know, all of it.” He waves his beer around to emphasize his point and narrowly avoids spilling it. “It’s not even about him, you know? It’s what he represents.”

“Which is…” Eddie prompts.

Buck settles back into the couch and wraps his non-beer-holding arm around himself. “I don’t know. Finding whatever it is I’m missing, I guess.”

Eddie hums and takes a long sip of his beer. “What makes you think you’re missing something?” he asks finally.

Buck frowns, nonplussed. “I mean,” he says, gesturing vaguely.

“What, a couple of not-forever relationships and there’s something wrong with you?” Eddie asks and—

“Five,” Buck says dully. “Five not-forever relationships.” Yeah, he’s pretty sure there’s something wrong with him.

“Buck,” Eddie says softly. From anyone else, it would feel chastising. From Eddie, it’s just… comfortable.

“Well what do you think it is?” Buck asks.

“I think,” Eddie says slowly, “that I’m probably the least helpful person you could possibly ask for relationship advice.”

Buck rolls his eyes. “M’not asking you about relationships, I’m asking you about me.”

“Ah, well, in that case,” Eddie says teasingly.

Despite himself, Buck smiles. “Just—what is it that makes me so—” Easy to leave? Hard to love? He can’t quite bring himself to voice either thought.

Eddie frowns like he heard them anyway. “Whatever it is, I like it,” he says with a shrug.

Buck blinks. “You… like that I keep getting dumped?”

“No, obviously not, Buck,” Eddie says, turning to shoot him an exasperated look. “I like you,” he continues. “Whatever it is your exes were too stupid to love about you, I do.”

All the air seems to leave the room. It’s—one time, in high school, Buck was slammed into the ground so hard during a football game that for a few seconds, he was literally incapable of breathing. This feels a little—a lot—like that.

“Eddie,” he croaks.

He shrugs again, like he didn’t just say the most insane, incredible, intense thing Buck’s ever heard.

“I like you the way you are,” Eddie reiterates. “You don’t need to make yourself less to be loved. The right person will get that.”

Buck swallows. “You think?” he manages.

“I know,” Eddie says emphatically.

Buck opens his mouth and closes it again. It’s just—it isn’t something he hasn’t heard before. Hell, Eddie’s said it more that once before. He just feels—

It’s like there’s something in his chest that’s dying to break loose, some incredible revelation that’s just around the corner. But for all he pokes and prods at it, it won’t come any sooner. There’s something, though.

Maybe he does just need to let the universe do it’s thing. In the meantime, he’s sitting next to Eddie on the only couch he’s ever really felt completely comfortable on. It’s enough.

[hannieween]

the soulkeeper’s betrayal — prologue

When Jun realizes that something has gone awry in his kingdom, he has no choice but to ask for help from his estranged wife. Though not without paying a price.

› pairings: wen junhui x female reader › aus: hades jun, king jun, exes to lovers, husband jun › genres: angst, fantasy, fluff, smut (18+) [none in this part] › word count: 661 words

› 🎧: things we lost in the fire – bastille | nfwmb – hozier | end of the affair – ben howard | lover please stay – nothing but thieves | conspiracy – paramore | only – ry x | cosmic love – florence + the machine | caught up – sights & sounds, nicole dollanganger . . . listen on spotify

› this fic is part of the greek gods collab ✧

» read more

no warnings apply in this part

› prologue, the journey

The morning felt stale under a colorless sky, announcing a cold and cloudy day ahead. A soft whooshing sound preceded the breeze that swept through the forest, rustling the leaves of the timber trees.

The leaves had begun to turn a vibrant shade of yellow, the King noticed. As he gazed at the land before him, he felt the urge to bend down and pick up the leaves that had begun to blow around his feet in the wind, creating a soft, crumpled blanket on the ground. 

He paused for a moment, aware that the wind was whispering something from afar. It carried with it the distant, melodic calls of phoebes, their voices echoing through the crisp air of the morning.

Junhui tilted his head forward, allowing the cool breeze to brush and sweep between his eyelashes as he closed his eyes. With a gentle, respectful gesture, he bowed to the wind, feeling its whispers in his brown hair.

The earth would gradually grow barren and lose the sweetness of spring. This was familiar to him; he had witnessed the signs time and time again. Yet this time it carried a significant weight—it meant that you were on your way here, it meant that you were coming home for the very first time since you had met. 

With a deep, steadying breath, he straightened his neck, feeling the anticipation rising within him, he felt an exhilarating rush of energy coursing through him. Slowly, he opened his eyes to the land stretching before him. 

Paradise. Where the sunlight seems almost tangible, it rises but never reaches its zenith. Colorful waves of grass stretch far and wide, dotted with small mounds of tiny white flowers, inviting anyone to rest their head on them.

This place was beautiful. At least this side of his kingdom was tranquil and robust with color. The birds choose to seek shelter and sleep here. It is where the souls who were granted peace would grow quiet and witness the king of the lands spend his mornings.

The place reminded him of a long-lost childhood. The music from the phoebes, the cold but gentle breeze. He wanted to run, he wanted to become one with the wind and not feel anything at all.

But alas, the dread came.

“What are you doing here, Clotho?” he asked, his voice was low and raspy from not speaking to anyone in what felt like months.

“It is time. Must follow tradition,” she said with a gentle tone, but Junhui knew better. He knew she was pressing on the importance of your arrival there. One of the Fates, only doing her work, but vague as to how to be tactful. 

“I am aware of that. Thank you,” he replied, turning to face her, turning his back on the land.

Her pale face looked stricken with worry and embarrassment as she lowered her eyes to the ground. “Forgive me.”

Jun raised his gaze to the silvery sky, trying not to roll his eyes. “You have nothing to apologize for,” he said coldly. “You’ve done nothing wrong.”

Clotho frowned. Those around him saw his apathy, and they took it as a sign that he was grieving his break-up with you. They were right; his heart was heavy with sorrow, even if he refused to show it. Beneath the surface, a storm of grief raged within him, slowly consuming him, even if he wore a mask of calm.

You came into his life in the most devastating way imaginable. Like a merciless wave, washing away everything that preceded you, leaving only you. Your arrival was not only abrupt, but it was like a shock that altered the course of his existence, forcing him to deal with the remains of the things you made him feel.

But then he lost you, all because of a lie. Now, as autumn slowly awakened, you were coming to him; it was time to make amends.

Only if you let him.

› author's note: heeeey (❁´◡`❁)

this is the prologue to a one shot i have planned to release on november 16th!

this is kind of a challenge for me because i never write detailed descriptions of places. i hope you like this one-shot. hehe

toodles!

support me on ko-fi? 🥹🩵

© RIGHTS RESERVED TO HANNIEWEEN I DO NOT ALLOW TRANSLATIONS, CONTINUATIONS, REIMAGINATIONS OF MY WORKS OR THEIR REPOSTING ON OTHER WEBSITES.

[books-and-omens]

Rather a big thing, by the way, that many of us are probably re-evaluating right now is Crowley consistently not wanting to be called kind or nice. Especially not by Aziraphale.

In S1, that was what triggered the wall slam. ‘Bit of an overreaction, if you ask me’—but in S2 we see more about how strong Crowley’s feelings are on the topic.

In the Job minisode, Crowley vehemently insists that he is a demon. He is so angry at God. When Aziraphale tells him that he is certain Crowley does not want to destroy Job’s children, Crowley takes his glasses off to expose full-demon irises and looks Aziraphale in the eye as requested and says, “I want to”.

Aziraphale is heartbroken over that. His shoulders slump, he exhales shakily, his faith in Crowley has indeed cracked. Look at him:

And then, of course, he figures out the trick, and it turns out that he is exactly right about Crowley. “Well,” he says, and looks vindicated, triumphant, amused.

He was right. He knew Crowley would resist atrocity with everything he has. He knew Crowley would understand it’s an atrocity in a way Gabriel and Michael did not seem to (and neither did those two care). What Aziraphale sees is that, for all of Crowley’s demonic posturing, Crowley came through.

(He remembers the angel that Crowley used to be. So joyful. So happy. So unlike Gabriel and Michael, too: the angel Crowley would never have gone along with killing Job’s children.)

At the end of this minisode, Aziraphale is ready to go to Hell. He thinks he must: he lied, he thwarted the will of God. Crowley, of course, tells him that he is simply an angel who goes along with Heaven as far as he can.

Aziraphale will process this in some way later, but… he won’t process it in the same way as Crowley. Aziraphale won’t reject the idea of Heavenly goodness—Heaven is supposed to be good, that’s the whole point—but he will take note of how, time and time again, Crowley exemplifies this idea when the actual Heavenly angels do not.

Across history, Aziraphale sees Crowley do things that are good. And then disclaim them, reject them, call them something else. A demon could get into a lot of trouble for doing the right thing, Crowley had warned him a long time ago.

Aziraphale will remember this.

Don’t say thank you, Crowley hisses in the Bastille. My lot do not send rude notes.

And the Victorian minisode?

Off my head on laudanum, not responsible for my actions, Crowley tells Aziraphale vehemently after saving Elspeth from suicide. (In Christianity, certainly in the 19th century, suicide condemns a soul; one who died by suicide does not even get a Christian burial. So Crowley has actively diverted a soul from Hell by drinking the laudanum.)

And—look at how indulgently Aziraphale is looking at Crowley as Crowley insists he is not responsible for his actions.

Of course you aren’t, my dear, he seems to think. We both know you did it on purpose, to have a plausible excuse for Hell. But of course we both know that you are in fact responsible for your actions, and that, at great personal risk and cost, you have once again chosen to do good.

So by the end, from Aziraphale’s point of view, Crowley has a much better idea of Good than Heaven itself. And—oh joy!—in the finale, Metatron, the voice of God, finally acknowledges that fact and validates it. Your demon recognized me when nobody else did, Metatron essentially says.

(I just cannot with the ominous dramatic music that plays as Metatron leads Aziraphale out of the shop. Get the FUCK OUT David Arnold, this is so pointed and disturbing. In this season and in the last, the music is narration, it tells us so much without a single word.)

Anyway! Yes! In the finale, Aziraphale is being manipulated, and part of why it works is that he still does not understand Crowley’s motives in insisting he is not nice or good. He has been interpreting Crowley’s insistence solely as protective, which makes a lot of sense from what he has seen. A demon doing good deeds must hide to avoid punishment and pain. Crowley has hid for six thousand years, has gotten used to hiding. Sure, the last four years were different, but even in these years the danger hasn’t gone away, and six thousand years is a long time to set a pattern.

Aziraphale wants to see Crowley happy. He wants to see him—both of them—safe. And here, finally, is an official Metatron-offered way. Heaven is finally admitting and working on its mistakes. Surely Crowley will forgive them? Surely Crowley and Aziraphale can make Heaven better, together? Make into what it should be? (And they would be safe, they would be safe, they would be safe.)

They still haven’t talked. Aziraphale still does not understand Crowley’s choices. In the past, it might have been too dangerous for Aziraphale to know exactly why Crowley Fell, while for Crowley, it might have been too vulnerable a thing to discuss. So they haven’t talked, and Aziraphale does not know the exact questions Crowley had asked, does not know the exact reasons. He assumes.

And his assumptions, oh so well-meant, are going to be catastrophic.

[minervas-hand]

Right to fear, wrong to believe

Just had a horrible realization and needed to meta it out.

How different they were before Edinburgh, when Crowley was sucked down into Hell.

Look at this flirty babygirl in the Bastille:

I mean could he climb that tree any faster?

(This is why I really like fics that place a more physical relationship here, pre-Bastille or just post-Bastille, because c'mon look at them. )

In S1 the next thing is 1862 and Crowley asking for insurance (with a cane ffs). And Aziraphale freaking out with his "fraternizing" BS. It's jarring, until we get 1827 filled in for us in S2.

@takeme-totheworld notes in this post:

Crowley sure went from "our respective head offices don't actually care how things get done" and "nobody ever has to know" to "walls have ears" FAST after Edinburgh. And Aziraphale went from looking at Crowley with hearts in his eyes to "I've been FrAtErNiZiNg" just as quickly. I'm more convinced than ever that Edinburgh was the first time Crowley ever actually got caught and punished for fucking around with Aziraphale/doing good deeds/whatever it was they yanked him back down to Hell for, and it scared the absolute shit out of both of them and changed the whole tone of their relationship after that.

Yes! - it's clear to me as well that the Edinburgh graveyard was a very bad turning point, where they both saw that Hell was listening and would intervene. And it did change their relationship drastically, for over a century and a half (really, until looming Armageddon loosened up the stakes for them).

But what about Heaven?

See the thing is, we know Azi's been worried about Heaven watching him for the past 6000 years.

But they haven't.

[GIFs posted by starrose17]

All this time, and Heaven had not seen them together. Hadn't noticed. Had not even LOOKED.

I want to mention what @starrose17 says about this here in this post:

What I love about this is her choice of words, “went back through the Earth Observation files.” This implies that these photos were already filed somewhere meaning somebody had to have been watching them which meant somewhere in the depths of the bureaucratic heaven there’s an underpaid angel clerk tasked with watching angels on Earth, and he’s been hording photos of his favourite Angel/Demon couple not reporting them to Michael because he wants to see what happens.

And that's exactly what this fic covers!: Spying Omens by @ednav

(Give this a read, it's fabulous.)

While I am here for this being exactly how that happens, the other scenario is colder and worse - there's no one watching, at all. It's just filing automatically and never seen until some Scrivener is called to pull a file.

From @fuckyeahisawthatat's comment here :

I found this scene to be quite chilling, actually. Not only is the idea of Heaven as a surveillance state brilliant (way to make “God is always watching” sound way more ominous) but this is exactly how modern surveillance states work. They don’t actively watch everybody all the time. That’s not physically possible for humans, and even if it is metaphysically possible for Heaven, it’s not a very efficient use of resources. Surveillance states watch people they deem “suspicious.” And once you’ve been put in the category of “suspicious,” they have massive amounts of data that they can comb through to collect a lot of information about you–to retroactively build a case justifying why you’re suspicious, to collect information about where you go and who you associate with, etc.

Yes.

So we either have secret collusion in the rank and file, or we have a surveillance state that is constantly reinforced to its subjects for fear's sake, for control.

(Well, it obviously could be both.)

BUT my point is… Up until Edinburgh, Hell has not been watching (or caring at least). And up until near the end of Armageddon't, neither has Heaven.

Oh, my poor Angel. Thousands of years, of denying yourself, of pushing Crowley away, of carrying around a tension that is it's own constellation.

After 1827 you might have reason, but for the 5000+ years before that?

Thousands of years and Heaven was not watching nor cared.

You were right to fear. And you were wrong to believe.

And that just breaks my heart.

[sophiethewitch1]

i think very visually so we now have the fun issue called: how the fuck am I supposed to turn what is basically an animatic into writing

[cobragardens]

CORRECTED & UPDATED Clothes + Equivocation = Romance: The Husbands in 1793 (Part 2)

From Part 1:

Crowley and Aziraphale share clothes as a common interest. They don't have the same style, but they're both aware of current fashions, and Heaven and Hell aren't. You can't tell me Hastur or Uriel would recognize the significance of Crowley saying "Dressed like that, he's asking for trouble" about someone else while wearing black stockings and cravat and waistcoat himself. And that means Anything the husbands communicate to each other through clothing choices goes undetected by their masters.

SO. With all this in mind, let's go through the 1793 scene again and look at what the husbands communicate to each other without using words or actions to do it, and how their clothing choices help them do that.

Hello. I'm here and I know you're in a spot of trouble. I like you.

It's you! I'm so happy you're here!

Sheen's voice and face when Aziraphale says Crowley's name in this moment makes me think that Aziraphale is in love with Crowley--the demon Crowley, not the angel who became Crowley--long before he consciously realizes it in 1941. The way Sheen has Aziraphale say Crowley's name is so soft.

The way you're he way you're lounging there and what you're wearing are uncomfortably sexy and also incredibly inappropriate for the Bastille at this moment in history. I suppose this is very on-brand for you.

Crowley: I listen when you talk about your interests and goals and keep track of your general whereabouts and pursuits.

Either they've spoken with each other recently or Crowley has been keeping tabs on Aziraphale. Aziraphale isn't upset that Crowley knows what he's been up to, which suggests the former, which in turn suggests they're in semi-regular (every few years or decades) contact at this point.

Also we've now got a general idea for when Aziraphale opens his bookshop.

Okay, brief tangent while I point out two things here.

One, my favorite thing about Aziraphale is that he is a sensualist. This is libertine behavior, y'all. He 'popped across the Channel' during the Reign of Terror because he wanted a specific carnal experience of a specific really lovely food.

And two, even when Aziraphale does weird, frivolous, silly, ill-advised things like this, things that clearly baffle Crowley...Crowley never makes fun of him. He never laughs at him. He always has this look of disbelief on his face, like Am I hearing this?--

--but Crowley never, not once, shuts Aziraphale down.

Until Aziraphale asks him to go back to Heaven.

Anyway. Back to our scene.

Aziraphale: I am unwilling to abandon my sartorial sensibilities even when it threatens my corporation, and I am insane, so I think this is reasonable. At least I'm not wearing a Slutty Monarchist outfit.

You're happy to see me, aren't you. You're relieved to see a demon. Go on, say it.

Tennant's delivery of this line cracks me up. It is so gloating and flirtatious and smarmy and indulgent of Aziraphale.

I am very happy to see you and lucky you're here, and I am willing to say so sincerely even though you are gloating about it.

And then there's the exchange where Crowley very carefully doesn't answer Aziraphale's question about why Crowley's in the area but also reassures him that he didn't cause the French Revolution and Aziraphale can still like him.

We can't speak openly about this. It's dangerous for me.

Message received: I won't mention what you did again. But I want to show my gratitude and spend time with you; is it safe for us to get lunch together?

Yes, but one of us is going to have to change so we can walk the streets of Paris without getting arrested again, and I'm the one doing the rescuing here so it's not going to be me. Your 'standards' will have to take the hit.

Fine, you've got me over a barrel. But hey, if I have to wear the silly hat anyway I might as well go all the way and wear your colors. Except not monarchist. And not slutty.

Oh, I don't know, I thought you looked pretty slutty too. (Meaning 2) I'm having this guy killed for touching you, btw. I will kill anyone who tries to hurt you. Immediately. I see you are having the guy who assaulted you killed in a copy of the clothes he would have killed you for wearing. I wholeheartedly approve of this (Meaning 3), your sexiness in those clothes notwithstanding. The utter insouciance of Crowley's little sniff and the inquiry about what they'll have for lunch drive home hard that Crowley could not be more unbothered by Aziraphale having the man who tried to harm him beheaded.

What really tickles me about this line is not only that Crowley's joke has three distinct meanings, but that Meaning 1 (the meaning that exists without reference to Crowley's clothes) is the opposite of Meaning 3--Anybody wearing clothes like that deserves what they get (Meaning 1) versus It rocks how you just killed someone who tried to kill you for wearing those clothes (Meaning 3)--and yet because of the clothes he's wearing, both meanings come through with perfect clarity, dependent only on whether the listener(s) can see his clothing and know its significance. Aziraphale can, and does, so he receives Crowley's real meaning. Hell/Heaven can't, and don't, so they just hear Meaning 1.

And then we get Aziraphale's pleased little smile and look of tranquil interest as he watches Jean-Claude dragged off to his death. Its such an interesting facial expression for an angel watching a demon have someone killed having someone killed, isn't it?

Crowley has just told him they're probably being listened to by Hell. That means Aziraphale, Crowley, and the audience all know this is the most Aziraphale can safely react. Aziraphale can't show any overt approval of anything an agent of Hell does, because by definition anything a demon does is demonic and angels must be against That Sort of Thing. In light of the fact that Aziraphale is the one who causes Jean-Claude's death, I now argue that this responsibility not to react too positively to something the other side has done falls on Crowley, and that the reason he makes this joke is primarily to tell Aziraphale I see what you've just done, and I like it without identifying aloud what exactly has just happened for their presumed eavesdroppers because an angel arranging a human's murder is the sort of thing in which head offices might take undue interest.

The awareness that their conversation is not private means the audience and Aziraphale know they need to be watching and listening for multiple meanings from Crowley, and it also means the audience and Crowley know we need to be watching Aziraphale's face closely right now. And that little smile shows us that Aziraphale has received Meanings 2 and 3 of "he was asking for trouble."

Or, at minimum, Meaning 3; even if Aziraphale picks up on Meaning 2--You looked really sexy in your vintage clothes, you crazy weirdo--that's not a message he can afford to react to at all. But he does react to the other coded communication Crowley is sending when he says "Dressed like that, he was asking for trouble" while dressed for trouble himself: I will kill anyone who tries to hurt you. Immediately. People who think your clothes give them the right to hurt you can go to Hell, and I am delighted you just sent one of them there.

You just had someone beheaded for assaulting me, I acknowledge and am pleased by your delight at my cleverness. and I could not be happier. Would you like to come enjoy one of my very favorite sensual pleasures with me?

***

EDIT: To be honest I like this reading better than my original, incorrect understanding of the story despite the fact that it is slightly less romantic, both because I love the idea of Crowley as a thirsty witness to Aziraphale quietly being a vengeful badass, because it gives us a glimpse of something important about Aziraphale's character that we don't get to see elsewhere: Aziraphale doesn't have a problem with killing per se.

We learn from the business with the Antichrist that, like Crowley, Az. can't bring himself to kill children. We learn from his perturbation at the Flood and the Crucifixion that he doesn't hold with killing innocents. He gave away his flaming sword. But this scene establishes that Aziraphale will actively cause someone's death if he feels they deserve it. That seems like an important character note for him that may become relevant in Season 3 (feathers crossed that it happens).

And I think there's something else in there too, something about how Aziraphale kills Jean-Claude, not with outright violence but with a trick. One party thinks he's in control of the situation; with a wave of his hand, suddenly a turnip has turned into an inkwell an executioner has turned into the condemned--or at least it seems that way long enough to get the job done. It's a bait-and-switch, like stage magic, and it slots right in to the motif in Good Omens of sleight-of-hand, of characters wearing other characters' appearances (for more on this, see fan theories re: Maggie is possessed), of supplying false meanings to an audience to disguise the true actions going on behind the scenes.

[creativepromptsforwriting]

Fic Titles: Song Edition

Part II

I can't steal you (like you stole me) - You, The Pretty Reckless

Spinning all these stories - Skinny Bitch, Lena Meyer-Landrut

It's just another rainy Sunday afternoon - Lemon Tree, Fool's Garden

When I watch the world burn (all I think about is you) - Doom Days, Bastille

Let's compare scars (I′ll tell you whose is worse) - Swing Life Away, Rise Against

Sunsets and silhouette dreams - You be the anchor [...], Mayday Parade

Who could deny these butterflies? - Remembering Sunday, All Time Low

As we say our long goodbyes - Run, Snow Patrol

Naked bodies look like porcelain - Love, Daughter

I wish you were a stranger - Over my head (Cable Car), The Fray

Send my regards to hell - Blame, Bastille

We do fall before we rise - Blood & Glitter, Lord of the Lost

Our hearts beat (control them) - In spirit golden, I Blame Coco

Admiring from afar - we fell in love in october, girl in red

The safest place to hide - MakeDamnSure, Taking Back Sunday

I am my own worst enemy - The Consequence, You Me At Six

My lover and my best friend - Rehab, Rihanna

It's a sign that someone loves you - Don't swallow the cap, The National

There is no sweeter innocence than our gentle sin - Take me to church, Hozier

The wonderful mess that we made - Flaws, Bastille

Drink the poison lightly - I'm not the one, 3OH!3

Saving life in the dark - Believe, Yellowcard

To warm the cold side of the pillow - Hunger of the Pine, alt-J

I'd probably still adore you - 505, Arctic Monkeys

You killed me with your smile - Tonight, Reamonn

Mistaken for strangers by your own friends - Mistaken for strangers, The National

Three whole words and eight letters late - Fireworks, You Me At Six

You say you love me and you roll your eyes - Everyway that I can, Sertab Erener

I'm so surprised you want to dance with me now - Pink Rabbits, The National

To distract our hearts from ever missing them - Youth, Daughter

More titles!

[wistfulnightingale]

A Mini-Meta Musing (#1)... Anything To Protect Crowley

I'm always a bit surprised at how Aziraphale is underestimated in the fandom. (I know he's in everyone's bad books rn, but breathe deeply and hear me out!). I've seen a lot of debate about how much, in his relationship with Crowley over the years, Aziraphale is rigidly fixated on right/wrong, good/evil, and uses it to push Crowley away. Sometimes, however, these discussions forget to take into account how often Crowley was punished by Hell. And Aziraphale knows.

Once he understood the constant risk of retribution the demon faced, Aziraphale's primary instinct and his self-appointed mission in the relationship became Protect Crowley. No matter what. Protect Crowley even when his friend is careless with his own safety. It's a huge factor in why he so often pushes Crowley away in later years, when they seem to be beyond all that. And I believe that it's also the real reason he built the bookshop.

Aziraphale desperately hopes the bookshop can help keep Crowley safe.

It takes a very long time for Aziraphale to recognize how dangerous their relationship is for Crowley. In the early centuries, the angel is buying the Party Line -- if you made it through the Fall, you're holy and perfect. In Eden, and again in Job's cellar, he misses the demon's ironic humor and is very caught up in holier-than-thou thinking. That doesn't exactly enourage Crowley to confide his secret shame. Our devil-may-care demon desperately wants to look confident and dashing and independent, not fearful and bullied. Eventually, however, whether Crowley confided or Aziraphale guessed, our foolish Principality realizes the danger, and he grows up a lot.

By 1601, at the Globe Theatre, he's more worried about the cruelty of Hell then Crowley is. Aziraphale at first *looks like* he's scorning Crowley's proposal in the arrangement, but he's actually trying, in his own way, to subtly "shush" Crowley's loud and daring carelessness. We know this because he then worriedly reminds the demon that, "if Hell finds out, they won't just be angry, they'll destroy you."

I propose that Crowley did actually get punished for his indiscretion in some way, sometime after that. When he shows up at the Bastille in 1793, sure, he's putting on fashion-model poses to impress the flirtatious angel, but he's also much less relaxed. There's a tension and moodiness in him that, chronologically, wasn't there in Essex or at the Globe. He's cynical again. But he doesn't tell the angel-- not that we know of, at least. Possibly because Aziraphale is feeling flirty and practically radiant that his handsome friend came to his rescue!

The meeting at St. James Park in 1862 was a defining moment for Aziraphale. Crowley had been literally sucked into a Hellhole, screaming, for saving Elspeth in 1827 Edinburgh. At the park in 1862, he's visibly stiff, barely even turning his head, carrying a cane, and incredibly subdued in all ways. There's no energized pacing, no hand gestures or leaning in. He hardly moves. His corporation was included in Hell's punishment, and he looks broken.

Aziraphale couldn't possibly NOT see this. We know he was worried when Crowley was taken. We see this in present-day when he slightly bullies and borrows a phone immediately after remembering the events of 1827, just so he can check on Crowley! Back in 1862, he sees Crowley's despair and brokenness. Again, he handles it indirectly, and hurtfully. If he can't keep Crowley safe, he'll push him away, for his own good. Like an old tear-jerker classic movie where the little boy tearfully chases away his beloved dog so that the mean villain won't shoot it...

Aziraphale is an intensely emotional being who often seems overwhelmed by his own feelings, leading him to handle difficult situations badly sometimes. However, he's also incredibly loving. The former Guardian of the Eastern Gate is a protector by nature and by choice. He loves humanity, and risks his ethereal status repeatedly to protect them. He loves Crowley, his best friend, whether he feels safe to admit it aloud or not. He'll risk anything, including the friendship itself, to protect him.

For 1800 years, Heaven didn't have an embassy in London. If Aziraphale just wanted a physical building to store his treasured collection of books, he could have done that. Heaven is a corporate hierarchy with paperwork and red tape. There surely were requests and filings and complications in trying to get an official Embassy authorized! Possibly he could simply have obtained permission to own a simple shop as a "cover" to fit in with the humans (like eating sushi!).

Instead, the bookshop is a Heavenly Embassy with miraculous protections. No one can enter unless first invited, not even angels. Only Crowley can freely come and go, at least until the chain of events at the end of Season 2. Prior to that, the bookshop is a safe place for them. Crowley is visibly more relaxed there. He and Aziraphale get along there, laugh and tease, and have their closest moments together. They are safe there, and Crowley can't be harmed within its walls.

This was Aziraphale's goal. He had too often felt the helplessness of witnessing how his relationship with Crowley put the demon at constant risk, even before 1827. From the time their friendship truly began at Job's home in Uz until Crowley was kidnapped by Hell in 1827, we never see Aziraphale try to discourage or end the relationship. Every interaction except Essex (537 A.D.) brought them closer together, and even Essex was quite collegial until Crowley first proposed "The Arrangement." Aziraphale hoped that creating the bookshop, with its protections, would help keep Crowley safe, or at least give him a temporary haven where he could relax and breathe more freely.

Imagine how powerless Aziraphale must have felt when 1827 slammed home the realization that he could never do enough to fully protect Crowley from Hell, or from Heaven for that matter. Yet, despite the danger, Crowley always seeks him out again, at continued risk. "Ducks have ears." Someone may always be listening. No wonder the angel unilaterally tried to end the friendship. Not a fair or emotionally healthy strategy, admittedly. But Not too difficult to understand.

-----

Final note, my own fun little imagining about the shop name: A. Z. FELL & Co. I know that adding "and Company" was a common business technique to make one's appear large and prosperous. It wouldn't be unusual at the time for a single shop owner to use, particularly for a property as impressive as Aziraphale's. But it's my personal belief, be it fact or headcanon, that the angel was entirely thinking of his best friend when he added "and Company" to the shop name. Crowley has an open invitation, Crowley is his guest, his companion. Crowley is welcome company. A & C. A.Z. Fell & Co.