#aziraphale is so fucking in love it’s insane

[queer-reader-07]

if i see one more person try to claim aziraphale doesn’t love crowley as much as crowley loves aziraphale i will throw hands.

say it with me: just because they show & express their love for each other differently doesn’t mean one of them loves the other more

[p4nishers]

"I'm a little bemused as to why crowley would risk destruction for you, you don't seem his type at all" that was. actually a thing they said. like that's a thing that was written in the script and said by an actor on good omens. then michael sheen had the absolute AUDACITY to raise his eyebrows like a fucking bitch who knows exactly what's crowley's type and that it's only ever been him. like!!! this is too gay even for me holy shit

[lastofgallifrey]

nothing in the world belongs to me but my love — mine, all mine, all mine.

aziracrow: my love mine all mine — mitski

[appleleef]

when you don't know anything at all, and yet

(aka what if after season 2 heaven takes aziraphale's memories too)

[brucequeensteen]

character wrapped 2023 💥

tagged by @davidtennantpussytulpa ^-^ i didn't know how many to do so i copied tara and did top 10. i know the severance guys are Four Of Them but i can't separate them theyre all equally important to me

will graham (hannibal), em haywood (nope), aziraphale (good omens), mark & dylan & helly & irving (severance), hawkeye pierce (mash), martha jones (doctor who), ivan karamazov (the brothers karamazov), kim kitsuragi (disco elysium), stewy hosseini (succession), ruescott melshi (andor/rogue one)

i will tag... @fagician @britomart @libraryfag @roadwhores @majorbaby @globuspolski @hadleyfraserfaggot @tenderscience if u want to ^-^

[chubbylittlebumblebee]

How is this not plastered wall to wall all over tumbler yet.

Everything new I learn about this series makes me love it tenfold.

[apocalypse-boi]

Just finished Good Omens 2. I feel bullied.

[widevibratobitch]

Idk if this has been done yet- but unhinged characters Crowley and Aziraphale~? 🥺

ahhh yes the fandom all my opera mutuals hate sooo much but i dont let it get to me uwu <333 lets goooo

crowley

aziraphale

[leoreadss]

Nothing to add your honor. We rest our case.

watched neil gaiman's new gay pandering show today and it's kind of indescribable. created by destiel king steve yockey and starring the actress who played rowena on spn. episode directed by legendary lesbian filmmaker cheryl dunye. canon fujoshi character who talks about her explicit yaoi. an amnesiac medium named crystal palace. gaiman's typical vaguely autistic hugely gay dandy who's never been kissed but also literally every man he meets wants to fuck him so bad it makes them clinically insane. also he's a ghost and died in an accidental demonic sacrifice in 1916. and he tries to confess his love to his best friend and is interrupted by being sent to hell. he then confesses successfully while his best friend is bringing him out of hell in a named orpheus and eurydice allusion. this show needs 12 seasons.

[mars-ipan]

i forgot that youtube comment analysis is almost never correct and just had. a solid chuckle

[p4nishers]

thinking about her again (1941 flashback)

[biceratops7]

This, this fucking image...

It drives me insane, just activates something visceral, and I finally realized why. It's not just an appropriately placed close up shot to denote intimacy between Gabriel and Beelzebub, it's a fuck damn pov shot.

Gabriel is not dressed in accordance to his preferences, he is borrowing Aziraphale's clothes. And Beezlebub, well lets just say a black blazer is a black blazer, not exactly the easiest thing in the world to differentiate. Just looking at those hands joining, the individual identities of their owners melts away. The moment could have so easily belonged to Aziraphale and Crowley... and it's just- it's... it's just like the Rats of Nimh. They've seen this sign everyday for almost their whole lives, and have never once known what it says. They can make inferences, use context clues, wherever they are, it seems to be too so it must be about them, but they couldn't ever know for sure. Until one day, without warning, they looked at the words, and understood them.

And the sign communicated a way out.

Aziraphale and Crowley are the first of their kind. I don't think we really appreciate or understand how utterly unfathomable what they feel for each other is in their lived contexts, even to them. All this painful fear, all these lengths they go to, all to keep safe this precious experience they don't even have the language to name. It's not just unallowed, it's unreal. So then just imagine what the actual fuck they must be feeling when they see someone else... just fucking do it. Just like that. An angel and a demon. In love. Intimate, affectionate, in front of heaven, in front of hell, in front of humanity, in front of GOD, and She knows who the hell else.

For literally the first time, they’re seeing the things they feel for each other exist in others like them.

[skydoescrime]

THIS IS THE COOLEST THING EVER ????

The secret timeline inside of Good Omens season 2 revealed, *part1*

Part 1 l Part 2

If you’ve ever watched a ballet or an opera, you know how the rhythm in the music is used throughout to determine not only the movements of the dancers, but also when lines are sung or spoken. This is almost unheard of in television, but what if I told you it was hidden in season 2 of Good Omens? If one were to, say, meticulously cut together only the scenes set in the present day into one big timeline, you would get one long video that is exactly 2 hours 22 minutes 00 seconds and 00 frames long. An ineffable cut that is so perfect it defies all logic. (I’ve burnt a timecode into this ineffable edit to help pick up the rhythm.)

Even though there are large swathes of the second season with no music, there is a constant tempo weaving its way through the show: What if the seconds ticking by in the runtime itself was the music? Here’s an example of what I found. Behold a supercut of every single time Shax shows up, or Hell is mentioned in series 2 in the ineffable edit. They always arrive on a 6 in the time stamp (ex: 00:XX:X6).

(SOUND ON is an absolute must here, otherwise you won't hear any of the triggers)

Shax rings Crowley on a XX:X6. Shax miracles herself into the car on a XX:X6. Shax knocks on windows on a XX:X6. Shax’s big scary moment at the bookshop happens at 66 minutes exactly (lol). Crowley calls out for Shax on a XX:X6. Beelzebub starts spewing flies on a 6. People mention hell and it’s always on XX:X6 etc. etc…(Bonus: I also left in Maggie flipping the damned the double-bird on a XX:X6) I’ve also left in the only appearance of Shax or hell at all in the whole series that isn’t tied to a six: the park bench scene with Crowley. Shax seems to be off by one line, showing up on a XX:10, then back to XX:X6 on her second reply: “Bills, mostly”. I can only theorise that this scene, while technically in season 2, is not supposed to *be* in season 2 (even just judging by the trees, sun and the overcoats, it’s not summer like in the rest of the season). And it’s not only sixes! Every time I go through I find more and more little beats that line up exactly with ineffable timings. I can only do one video per post, so I’ll have to cut it up into sections, but Gabriel, doors, car horns, bird calls, Aziraphale, food, drinks, Angels, dialogue, Maggie, Nina, jokes, clocks, bells… The list goes on and on. 

Neil called this season “The bridge”

Because we all know how much Neil loves double meanings and wordplay, I just have to ponder the idea that when Neil said this season was “the bridge” between seasons 1 and 3, he meant it double-literally. First, as in the bridge Aziraphale and Crowley have to cross in order to get them into position for the second coming. We even see the physical manifestation of this bridge leading everyone in the background of the opening credits. But this season is also a bridge in the sense that it’s a musical section that introduces new ideas or material in the middle of a song. This whole season is the music that deviates from the familiar, and re-contextualizes the chorus and the verses so we can appreciate them in a new way. 

Let’s not forget that 2:22 is also exactly the same timing as this (and only this) track from the good omens s2 album (read all about the soundtrack here):

Why is this so bonkers? I think GOS2 might be the first ever “Total” series of television.

Having everything in the series timed and choreographed would actually make it a very faithful adaptation of the Powell & Pressburger film The Tales of Hoffmann (read about the movie and it’s effect on all of s2 here). If you watch the tales of Hoffman, you will realize that the entire film is actually done more like animation, with the music and vocals all performed in a studio, mixed and edited first, and then the actors came back to act out their choreographed and lip-synched parts for the cameras afterwards. The result is "Total film": a movie that feels more like a ballet, with every movement, action, and line happening in time with the music. As far as I can tell, very few films have ever attempted this, with The Tales of Hoffmann and Playtime being the only two “complete” films I could find in this style. (The Red shoes has one section, and An American In Paris has a few)

“Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann (…) was in some way an admission(…) that they couldn’t go on making their edgy, over-the-top melodramas after the rejection and interference they’d suffered, (but) there’s a case for considering The Tales of Hoffmann as one of the finest and boldest works that Powell and Pressburger produced, so far ahead of its time as a wholly “composed” film... Late in his life, Powell himself said that he thought it was one of the best films that he and Pressburger had made.” - Criterion review, Tales of Hoffmann

Here’s a simple example from An American in Paris

If season 2 *is* scripted and choreographed to line up with specific timings, I’m pretty sure that would make this the first ever “total” or “composed” season of television ever attempted. Not only does this take an ASTOUNDING amount of planning, scripting and editing finesse, not to mention a completely controlled set, it takes a real understanding of how to perform as an actor using rhythm and metre, which would go a long way to explain why all of the main actors coming back for season 2, with the exception of John Hamm, are well regarded theatre performers, (especially of Shakespeare).

I’ll leave you with one last surprise I found in the discovery of the ineffable edit: remember Aziraphale’s smile at the very end if the credits? It happens on 02:23:03, as the first step off the bridge, and into season 3.

I will have much more in the next ineffable timeline post. Stay tuned…

__________________________________________

Thanks for reading all the way to the end. It’s taken me a solid month to get this perfect. There are so many hidden cuts and jumps to take into account, and I had a frame rate issue that kept exporting to 29fps instead of 25fps, but I’ve finally nailed the ineffable timeline enough that I am confident sharing in it.

Credits to @thebluestgreen and @embracing-the-ineffable for all the support and help with editing and just general good vibes. 

[infernal-house-demon]

I love David Tennant with my whole heart and think he is an absolutely phenomenal actor. Crowley is one of my favourite characters of all time.

But I just gotta take a moment to talk up Michael Sheen. He’s been great in everything I’ve seen him in. But his acting choices as Aziraphale just make me go absolutely feral! He can communicate so fucking much without even saying a word. I was looking for art references for my next thing and I came across this picture from after the kiss

HOLY SHIT DUDE! Holy fucking shit! One single frame and it says so so so so much! His performance is subtle and restrained and yet it is so incredibly powerful and clear! I am going insane over this man. Not to mention the absolute consistency that he (and likewise David) play their characters with. The mannerisms, the ways they carry themself, the range of expression. David does so much with the rest of his face since we can’t often see his eyes, meanwhile Michael’s eyes say absolutely everything and it is just absolutely phenomenal. These two in this show, especially in the second season, just give maybe some of the best performances I’ve seen in anything. It’s an absolute delight to watch and I cannot stop thinking about them both, but especially right now Michael Sheen lives rent free in my mind. I’ll say, once more, with the utmost affection and respect, HOLY SHIT.

[lenaellsi]

after my latest rewatch I am even more convinced that crowley really doesn't have the intense self-loathing issues he's commonly depicted with. like he has some regrets and bad memories and insecurities like everyone does, and he's under an insane amount of stress basically always, but he's very confident in who he is. he's not particularly happy about being a demon, but that isn't the same thing as hating himself for it. he hates hell, not himself.

like. he’s not upset about being called one of “the bad guys” because he agrees, he’s upset because he knows aziraphale is wrong, and because this is evidence that aziraphale still believes in a philosophy that has divided them since even before his fall. he has never once considered himself less than aziraphale or any other angel. I think it's clear that he's pretty offended by that implication, actually!

“crawly” as a name is too squirming-at-your-feet-ish for him because he knows who he is, and he sees value in that person. his depression and his worrying relationship with his own life and safety come from his feelings on god and predestination, not from self-loathing. crowley does not believe in the system. he doesn’t believe in the idea that people are purely good or evil, and he’s sure enough of himself to know that he's not either. that's why he's able to make the choices he does. he's able to act in the gray spaces between heaven and hell (see: job, the flood, the "virtues of poverty," armageddon, etc etc) because he is confident enough to make those decisions without worrying about what the powers that be say about what's "right" and "wrong."

that doesn’t mean that he’s not self-conscious. he’s very concerned with what humans think of him, what aziraphale thinks of him, and (out of self-preservation) what hell thinks of him. he hides his eyes and puts on a cool, flashy persona to hide the more vulnerable parts of himself. I think everyone does that, to a degree, but it's especially obvious in crowley because of how it manifests in his glasses. he's been burned (literally) before, and he knows better than to show weakness when he could be hurt like that again.

and re: the "I never meant to fall" thing--he's upset about being a demon, yeah, because the fall sounds like it sucked, and his job tortures him when he's Good or just Bad in the wrong way, and he's deeply lonely, and the love of his life has a complex about their relationship, and he's trapped in a system where he has to blindly follow one of two nearly-identical sets of bullshit morality rules or be executed. but again, he's mad at god, heaven, and hell for all of that. I'm sure he's angry at himself for all sorts of reasons often enough, because crowley is generally a pretty angry person, but he doesn't hate himself in any sort of existential "I am an unlovable monster" way.

maybe sometimes he regrets falling. maybe sometimes he thinks it would be easier if he never did. maybe sometimes he hates his fucking line manager and wishes he could do any other job for a while. but no part of crowley thinks that he is any worse of a person after the fall, or any less worthy of aziraphale's company. he just thinks aziraphale thinks that, because of the amount of times aziraphale has told him so.

[flashbastardsramblings]

I've realised that the thing I love most about the new popular queer media (and for this I'll use as an example wwdits, good omens and ofmd), is the fact that the difficulties these characters are dealing with aren't connected to their sexuality. The problems don't stem from their queer sexuality. They are not being punished for being queer.

Crowley and Aziraphale's relationship isn't forbidden because they aren't a cishet couple. It's forbidden because they are both victims of an opressive and unjust system (heaven) who's afraid of their combined power which is a direct result of their love for one another.

Guillermo and Nandor's relationship is so nuanced and complicated. There's lots of things to unpack that have been piled up for more than a decade, but again their queer sexualities aren't the problem. Same goes for the rest of the vampires, who are also queer.

Sure, in Stede's case he has to deal with queer trauma, toxic masculinity and the realisation that he's gay, and therefore doesn't conform to the ideal archetype of the straight, masculine man with the heterosexual family. But after realising that and coming out to Mary, the show isn't really about ‘oh, look how difficult it is to be queer, poor guys'. Like Con O'Neil said in a panel, the obstacle here isn't that we have two men who are in love. The difficult thing is to let yourself be in love and become vulnerable.

Both Stede and Ed are dealing with their own trauma, which has affected how they see themselves and by extension their relationships with other people. They are dealing with self doubt, even self loathing, and the belief that they aren't good enough or that they don't deserve love. However, none of that is because they are queer. Being queer sure isn't easy (especially then) but it's not the source of their pain and I fucking love that.

I'm all about the exploration of sexuality, dealing with internalised homophobia and transphobia, coming out etc, and that's why we have series like Heartstopper. But it's still so fucking refreshing to see queerness not being depicted as a ‘big deal’, but rather one of the many aspects of one's self.

That being said, I love being queer and fucking love my insane little queer characters.