#good to see Terry back

[daily-crowley]

Crowley Of The Day: am I the only one who gets a little emotional when I see angel!Crowley?

[a-shadowedvales]

when jane's powers return in season four (and because they were regained by her confronting and accepting her past, rather than being retraumatised with it!) they're stronger than they ever were. when she starts getting a handle back on them, she very quickly comes to realise not only have they affected her, but her mother, too. one of the biggest losses that came about with her losing them was the fact that she could no longer visit terry in the void; while there was no real communication there, it did allow jane to sit with her, and gain a little more connection than she could in the real world. when she first visits the void after their return, it takes her three hours to find terry, something that is both unexpected and incredibly worrying. but when she does, it's something of a miracle. jane's increased strength and control over the void actually wakes terry up from her catatonic state, but only in the void. there's no way to help her mother physically, but she does do so (unbeknownst to her) mentally. terry is reborn in jane's newfound control over the vale of shadows; she becomes the woman she once was, and while her body remains frozen in a "good dream", her mind connected to jane's own allows her some freedom. jane is able to speak to her mother in the void, is able to be held by her, and while it's still unfair and jane cannot stay in there forever, it's something. this only lasts for about eight months, as each visit slowly begins deteriorating terry's physical and mental state, and jane's health begins declining after spending hours upon hours in the void each and every day.

when jane finds out these visits are actually killing her mother on the outside, she deems to stop, but terry expresses the importance of them being able to speak, that she'd prefer to die on the outside, if it meant she could have just a few months with her daughter like this. terry and jane's connection was always so strong, which ultimately led to terry "waking up" in the void, but even jane's newfound strength cannot save her from the harsh realities. each visit nearing the end of those eight months, terry fades more and more, becomes weaker in the void, and her real body eventually gives up. jane's in the void when her mother eventually passes on, and physically feels their connection weaken, like some part of her suddenly becomes lost in the shadows, a part she'll never find again. jane falls into a depressive state for weeks after her mother's death, given she's technically lost her a second time, but soon comes to realise she was lucky to have even shared those eight months together. it was better than nothing at all. there is a proper burial and funeral, (and when jane dies, she's buried next to her mother) which allows jane some sense of closure. she never fully recovers from losing terry, nor from the fact that she never had a proper relationship with her, but she does eventually find some peace with it all.

[mothric]

b99 was a comfort show years ago but I never made it past two seasons so I started watching it again from the beginning and I just gotta say ppl who think "jake peralta is bi" is a recent theory are kidding themselves

[dashiellqvverty]

my opinion on season 11 is that ian and mickey were all over the place from episode to episode and i ultimately wasn’t very happy with where it ended for them

[devaslounge]

Believe it or not, this series from 1975 named "Candy Candy" will make you ugly cry in ways you never thought possible while providing ever diminishing returns as it plunges you deeper into greek tragedy. it'll also make you feel hehe about men with long hair.

[justablah56]

Hi, TJ anon here! I just finished an exam and don't have a lesson for over 2 hours so I'm taking this opportunity to infodump to you again

A sad extended headcanon I completely forgot to mention last time: even after the betrayal, Terry Jr helps look after Taylor. He feels absolutely horrible about what happened, and blames himself for Nicky not being able to raise his son (since he no longer has DADDIES' protection from the FBI) so he constantly sends letters and pictures of how Taylor is doing to Hell. This is why the Swift household has a traditional of a first and last day of the school year photo. Nicky has copies of all of them hanging on his living room.

Nicky never responds to the letter, but when Taylor turns 4 he starts sending Christmas and birthday presents for him. Terry always labels them as "From Dad". When Taylor gets older, he assumes they were just from his Uncle TJ or Mom, but labelled as his dad to make him feel better.

Terry Jr, in his ongoing attempt to seek penance for betraying his best friend/lover, has been working on sabotaging and taking down the FBI. When Taylor was 8, they started catching on to him and he had to cut contact with the Swifts to prevent them from noticing Taylor. Part of the security measures involved using the memory syringes (with Cassandra's consent) to remove their knowledge of Nicky being a demon, and also magically isolating Taylor's memories of TJ, so he still has memories of his uncle but wouldn't be able to recognise Terry after the spell was cast.

Every year after this, Cassandra takes Taylor to see Terry Jr in a Christmas play. It breaks her heart slightly every time they leave and he comments about how good "that one actor who's always in these plays" was. One year, Taylor goes to the stage door to tell Terry he did a good job. It's one of his most bittersweet memories.

(Terry keeps the syringes at DADDIES HQ in custom wooden boxes. They have "C. Stampler" and "T. A. Stampler engraved into them)

tj anon !!!! welcome back !!

ALSO HEY THIS MAKES ME SO FUCKIGN SAD I LOVE IT just ,,, Terry basically being *taylors* step dad while nick couldn't be there and taking care of him and 🥺😭😭 TERRY SENDING HIM CHRISTMAS GIFTS "FROM DAD" ???? absolutely sobbing abt this ,.,. and him sending the pictures to Nicky aND NICKY HANGS THEM UP WWHSJJDKSMD 🥺🥺😭😭🥺

and Terry trying to take down the FBI for Nicky ,.,., aND THEREFORE NEEDING TO CUT OFF CONTACT W CASS AND TAYLOR 😭😭 literally so sad abt himmmm and then the playyyyyys waofuhs 🥺 Taylor still pointing Terry out in every play ,,, and at some point goes to tell him and Terry sti knows him and Taylor just thinks he's a good actor and

anyways that's literally so cute , now very obsessed w Terry and Taylor's relationship , I thank you again for the rant , I love them so fucking much !!

[murderous-coffeebean]

Every time I see someone address @neil-gaiman with "Lord Gaiman" or something similar, I can't help but immediately envision the exchange kind of like that :D

Neil Gaiman © himself / art © Murderous-Coffeebean (tumblr & dA)

[dykecadence]

tentatively excited about good omens season 2 esp since it seems to have a mostly new cast so its not just gonna be like disney sequels where its all just callbacks

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[whereisthedamndaddymanual]

Pepe Le Pew is a lie.

In real life it was the kitty chasing the skunk

Can you blame her? Have you ever listened to cats having sex?

[captainfantasticalright]

In 1985, one of the only persons interested in an interview with a “new” writer called Terry Pratchett, after his publication of the Colour of Magic, was one Neil Gaiman. Neil Gaiman was writing for Space Voyager at the time. "The Colour of Pratchett" was the name given here:

It ran exactly one page inside the June/July issue of that year. The interview took place in a Chinese restaurant in London.

Here is Neil many years later holding that issue. You can see it here if you want. Warning: extremely emotional video.

Neil arrived wearing a grey homburg hat. “Sort of like the ones Humphrey Bogart wears in movies” he later wrote. (Before saying that in fact he did not look like him, but like someone wearing a grown-up’s hat). Terry Pratchett, photo courtesy of one @neil-gaiman, was in a Lenin-style leather cap and a harlequin-patterned pullover. At this point, Terry was already a hat person, although not that hat.

Terry offered Neil this : "An interview needn't last more than 15 minutes. A good quote for the beginning, a good quote for the end, and the rest you make up back at the office"*. (Terry Pratchett had worked many years in journalism by this point ).

But the meeting went terribly well. The two of them realized they had "the same sort of brains". So well indeed, that in 1985, Neil had shown Terry a file containing 5282 words, exploring a scenario in which Richmal Crompton's William Brown had somehow become the Antichrist. Was a collaboration in the cards as of that moment? Not really. But Terry found in Neil someone to whom he could send disks of work in progress and to whom he could pick up the phone sometimes when he hit a brick in the road of his writing.

Terry loved it and the concept stayed in his mind. A couple of years later, he rang Neil to ask him if he had done any more work on it. Neil had been busy with The Sandman, he had not really given it another thought. Terry said, "Well I know what happens next, so either you sell me the idea or we can write it together". **

On collaborating together:

Here is a video of Sir Terry saying why he chose to collaborate with Neil, another video talking about the technical difficulties of writing a book when the two of them where miles apart ,and some pages from Interzone Magazine Issue 207 published December 2006:

An Interview with Sir Terry Pratchett and his works- and Neil Gaiman, where he shortly addresses the process of writing Good Omens.

Terry shortly mentions,

“Neil doesn't rule out another book with me and he was good to write with...yep, it could happen. With anyone else? I don't know, but probably not.?”

Neil says,

"Terry took that initial 5,000 words of mine and ran it through the computer (because I’d lost the files in a computer crash) and made it the first 10,000 words, and it was definitely Good Omens at that point. Neither one thing nor the other, but a third thing.”

"I think Terry could do a very good impersonation of me if he needed to, and I could do a very good impersonation of him; so we knew the area of the Venn diagram in which we were working. But mostly the book found its own voice very quickly. It helped that we were both scarred by the William books when we were kids...”

And as you know, unless you’ve been living in Alpha Centauri, the rest is history. That was the beginning of what would become William the Antichrist and later would get the name Good Omens:The Nice and Accurate Prophecies of Agnes Nutter, Witch. (Title provided by Neil Gaiman and subtitle by Terry Pratchett).

More about the writing process:

Terry took the first 5,000 words and typed them into his word processor, and by the time he had finished they were the first 10,000 words. Terry had borrowed all the things about me that he thought were amusing, like my tendency back then to wear sunglasses even when it wasn't sunny, and given them, along with a vintage Bentley, to Crawleigh, who had now become Crowley. The Satanic Nurses were Satanic Nuns.

The book was under way.

We wrote the first draft in about nine weeks. Nine weeks of gloriously long phone calls, in which we would read each other what we'd written, and try to make the other one laugh. We'd plot, delightedly, and then hurry off the phone, determined to get to the next good bit before the other one could. We'd rewrite each other, footnote each other's pages, sometimes even footnote each other's footnotes. We would throw characters in, hand them off when we got stuck. We finished the book and decided we would only tell people a little about the writing process - we would tell them that Agnes Nutter was Terry's, and the Four Horsemen (and the Other Four Motorcyclists) were mine.

From the introduction to William the Antichrist:

“In the summer of 1987 several odd ideas came together: (..)I found myself imagining a book called William the Antichrist, in which a hapless demon was going to be responsible for swapping the wrong baby over, and the son of the US Ambassador would be completely undemonic, while William Brown would grow up to be the Antichrist, and the demon would need to stop him ending the world. The unfortunate demon, whom I called Crawleigh, because Crawley was a nearby town with an unfortunate name, would have to sort it all out as best he could.

It felt like a story with legs.

Terry took the 5,000 words, and rewrote them, calling me to tell me what he was doing and what he was planning to do. The biggest thing he was going to do, he told me, was split the hapless demon into two characters – a would-be-cool demon in dark glasses (which was, I think, Terry’s way of making fun of me, a never-actually- cool journalist in dark glasses) who had renamed himself Crowley, and a rare-book dealer and angel called Aziraphale, who would embody all the English awkwardness that either of us could conceive.”

William the Antichrist being a direct inspiration of the 1976 film The Omen. If the baby swap had just been a little bit messier and the kid had gone off somewhere else he would have grown up as somebody else. “And then there was a beat and I thought, I should write it, it will be called William the Antichrist” says Neil. ***

“The first draft of Good Omens was a William-book. It was absolutely in every way it could be a William book. It had Violet Elizabeth Bott, it had William and the Outlaws, it had Mr. Brown”.

Over time they realized that they would have more creative freedom if they in their own words filed off the serial numbers. William and the Outlaws becoming Adam and the Them.

But the spirit of Just William was never far away.

The joy for Neil was to construct “perfectly William sentences”. The one when Anathema tells Adam that she has lost the Book, and he tells her that he has written a book about a pirate who became a famous detective and it is 8 pages long… that’s “a William sentence”.

If you want to read more details about William The Antichrist, here are some slides I made.

Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta and John le Carre's spy novels. (Neil’s ask)

 Then I was reading The Jew of Malta by Kit Marlowe, and it has a bit where the three (cartoonishly evil) Jews compare notes on all the well-poisoning and suchlike they’d done that day, and as a Jew who never quite gets his act together, it occurred to me that if I were the third Jew I’d just be apologizing for having failed to poison a well… And suddenly I had the opening of a book. It would be called William the Antichrist. And it would begin with three Demons in a graveyard… (x).

“When we finished the book we estimated that the words were 60% Terry’s and 40% mine, and the plot, such as it was, was entirely ours.” -Neil Gaiman

"Neil and I had known each other since early 1985. Doing it was our idea, not a publisher's deal." "I think this is an honest account of the process of writing Good Omens. It was fairly easy to keep track of because of the way we sent discs to one another, and because I was Keeper of the Official Master Copy I can say that I wrote a bit over two thirds of Good Omens. However, we were on the phone to each other every day, at least once. If you have an idea during a brainstorming session with another guy, whose idea is it? One guy goes and writes 2,000 words after thirty minutes on the phone, what exactly is the process that's happening? I did most of the physical writing because: 1) I had to. Neil had to keep Sandman going -- I could take time off from the DW; 2) One person has to be overall editor, and do all the stitching and filling and slicing and, as I've said before, it was me by agreement -- if it had been a graphic novel, it would have been Neil taking the chair for exactly the same reasons it was me for a novel; 3) I'm a selfish bastard and tried to write ahead to get to the good bits before Neil. Initially, I did most of Adam and the Them and Neil did most of the Four Horsemen, and everything else kind of got done by whoever -- by the end, large sections were being done by a composite creature called Terryandneil, whoever was actually hitting the keys. By agreement, I am allowed to say that Agnes Nutter, her life and death, was completely and utterly mine. And Neil proudly claims responsibility for the maggots. Neil's had a major influence on the opening scenes, me on the ending. In the end, it was this book done by two guys, who shared the money equally and did it for fun and wouldn't do it again for a big clock." "Yes, the maggot reversal was by me, with a gun to Neil's head (although he understood the reasons, it's just that he likes maggots). There couldn't be blood on Adam's hands, even blood spilled by third parties. No-one should die because he was alive." -("Terry Pratchett : His World”)

(Here are some slides of mine where I go into some other details concerning the origins of Good Omens).

Another wonderful insight with Rob Wilkins in "The Worlds of Terry Pratchett".

*Quote: from Terry Pratchett A Life With Footnotes by Rob Wilkins, but said by Terry of course.

** All the quotes, facts listed here : see above.

***all other quotes by Neil Gaiman from various interviews and asks I’ll link.

[hoshigray]

Request! Geto never had to worry bc reader basically never interacts with guys. That 3we until he saw her hugging her male coworker and now he has to put her in place if ykiwm😋

𝐚. 𝐧𝐨𝐭𝐞: oh yikesss, possessive sugu incoming, oof. lmao this is lowkey like the one i did for my kinktober, but what the hell

⊹ 𝐜𝐨𝐧𝐭𝐞𝐧𝐭𝐬: Geto x afab/fem! reader - explicit content; minors DNI - canon divergence; Geto is a jujutsu tech sorcerer - shibari; rope bondage (cross-chest box tie, frogtie) - sex toys; use of a vibrator - fingering (f! receiving) - clitoral play (swiping and pinching) - pleasure denial - mild possessive behavior - pet names (angel, baby, pretty girl, my love, sweetie) - cameo: Gojo - mention of drool/saliva.

⊹ 𝐰𝐨𝐫𝐝 𝐜𝐨𝐮𝐧𝐭: 1.3k

“Hahhh…ahhaa, Sug’ruu, I can’t…Mmm!”

“Aww, are you feeling well, my love? You look awful.”

And whose fault would that be?

Geto removes his jacket to put aside one of the chairs of the many desks. He stretches his sides and cracks his neck, releasing a massive sigh after a long inhale. He’s now relaxed that he’s back in his classroom. 

However, he isn’t the only one here. Someone he knows is here with him — waiting for him to return. And Geto’s lips curl into a smile once he looks down to see someone on the cold wooden floor.

You were in nude form, clothes sprawled to the side of you. A long red rope contorts around your body, binding your arms behind your back with your wrists tied together. Your thighs and ankles were restricted together; the red ropes tied the leg together to that of a frog-like position. And a red blindfold covers your line of sight. You were whining and writhing in this bounded position. Why? 

Geto slowly walks around you to take in the view, noticing that the vibrators he placed on your body were still where he had left it. Your nipples had a vibrator taped on to each, and the buzzing noises made Geto’s skin crawl. There was another set of bullet vibrators buzzing down south. Three white wires are connected to a remote lying on the floor, and they seem to be stuffed inside the wet entrance of your chasm. So, five vibrators are teasing your body all at once. What a hell. 

He comes down to your level, bringing you up with a hand to lie on his propped knee, and your breathing so low and hushed. “How are you feeling, angel?” He lifts the blindfold to have you peek at him, noticing your eyes are puffy and wet. Poor thing was crying for him.

“Sugu…” You called him by his nickname, a tool in hopes of getting on his good side. “Can you…please…”

Dark eyebrows raise, “Please what, pretty girl?” He shields your eyes again and slithers his hand down from your chin to your neck, and he loves how your breathing lessens when he approaches your breasts. He pulls off one taped vibrator to free the bud. For a moment before he blows on it, “What do you want from me?”

“Can I—Ohh!” His tongue flicks your nipple; it’s so sensitive and sore! “Can I please…cum…?”

“Ahh, what a dirty girl,” Geto chuckles to you as he kisses your mound, his hand now traveling further down to the three wires on the floor. He gently pulls one, a loud noise of one vibrator bumping into another. “You were doing so well being patient for me. I have one more meeting, baby; why can’t you wait after that?”

Your breathing gets shaky, leaning towards his frame to get through. “Because...Mmmm, I want you to make me feel—Ohh…! Good...”

“Is that right?” More laps around your nipple before he sucks it in. “You want me to make you feel good? Not Satoru?” You gulped at the mention of the other’s name, feeling Geto’s intense, indigo gaze on your face. 

In all honesty, Geto admits he can be a jealous man — especially regarding you, his sweet angel. The reason why you’re in this situation is because your partner saw you hug another man yesterday. Satoru Gojo, the dark-haired man’s best friend of all people! Granted, it was because you were only giving a gift of sweets to the tall sorcerer because he came back from a terrible, dangerous mission with Geto. And the white-haired fool, oblivious to personal space as always, brought you in for a hug as he thanked you for the bag of sweets you handed him. 

Putting his hands on you did make Geto unpleasant, yet this was Gojo we were talking about; the guy acts like personal boundaries don’t apply to him. However, what did upset the man more was you reciprocating the embrace with a cheerful smile — a smile only Geto was to bear witness to. It twinged his heart – cliche, but it did. You toyed with his feelings, and he had to correct you for such behavior. 

The man increases the intensity of the vibrators inside your cunt, and your body jerks unexpectedly. He then slides a finger inside your vagina to play around your walls with the toys, and you have to remind yourself not to scream as his fingertips scrape the velvet texture. “You hurt my feelings, sweetie,” he listens to your whimpers get higher and higher as he increases the speed of his finger. “You know I’m not one for sharing — especially with Satoru.” 

“Hahhh, Sugu’uuu, I’m so sorry, I didn’t mean to—“ You press your lips together to suppress a moan once Geto takes your nipple back into his mouth, pushing the nub to the roof of his mouth and skimming it with his teeth. A sharp gasp escapes your frame at the addition of another finger inside you, and more tears well up from how much stimulation is happening. “Nmoohh, please, I won’t do it again…”

“You promise?” He whispers into your ear, slowly removing his fingers to increase the intensity of the vibrators inside you. Those same fingers now go to your clit where he swipes in slow circles, and you nearly choke on your spit. “Tell me, who’s my favorite girl?” 

“Mee! I’m y’re favorite…!” Despite the ropes tightening around your ankles and thighs, your lower half still jolts to his touch on your delicate pearl, trying to sway your hips to move with the friction. 

“And who’s your only favorite man in this world?”

“You, Sugu!” Oh, the way you desperately said his nickname was so pathetic to hear — so sweet. He couldn’t stop the sneer from flourishing on his face. “You’re my favorite—Mmmph! Always…”

Good girl. “You wanna come so bad, baby?” His thumb and forefinger rub against your clitoris, evoking cute squeaks to fly out your drooling mouth. You nod hastily; that’s not what he wanted, so he pinches your clit. “Words, pretty girl, words.”

“Yessh, please let me cum, my love…!” Now that’s what he wanted to hear, being all cute and pitiful for him to grant you what you’re craving. And you can feel it coming, your nerves heightened with the climb of your orgasm.

But then, you sense his fingers gone from your clit, the cold air occupying their absence. Instead, he puts the vibrator that once teased your nipple back and rests your figure onto the cold wooden floor once more. Your brows screw together with quivered lips, “No, pleaseee! Don’t leave me again!” You whined.

Too late, he was adorning his jacket and heading out for the sliding door of the classroom. “I’m sorry, angel, but I gotta get to this meeting first. Don’t make too much noise while I’m gone, okay?” God, you pulled his heart the way you helplessly laid there. “Don’t give me that look, my love. I’ll be right back when it’s done.” He steps outside and closes the door behind him, swiftly locking it while checking for his surroundings.

And it was a good thing he did, too. Because right around the corner came his best friend, Gojo, the blindfolded sorcerer, retrieving the raven-headed other. “Yo, there ya are, Suguru! The meeting’s about to start; don’t slack off before Yaga comes for our heads.”

“Yeah, yeah, I’m coming,” he walks alongside his companion, heading to the other side of the hall. 

“Hmm, by the way, where’s Y/n?” The white-haired man inquires while scratching his ear. “I haven’t seen them since this morning.”

Geto hums to the question, the shrug of his shoulders to seal the deal. “They felt sick all of a sudden, went to go see Shoko to check.”

The taller sorcerer tilts his head with a scoff. “Who said you were a good liar?”

“You’re one to talk.”

© 𝐇𝐨𝐬𝐡𝐢𝐠𝐫𝐚𝐲2024 – reblogs and comments are appreciated wholeheartedly ☆ header edit done by me + dividers by @/benkeibear.

[neil-gaiman]

hey Neil, I hope you are having a good day. There's this question that's been bothering me for years. I never knew who to ask, or how, and I was always sure it's only me who experiences these things. And then I looked back at my favorite book of yours -good omens- and I thought, of course! Neil! He's the perfect guy to ask! So here it is.

You wrote good omens with Terry Pratchett. You know that already, sorry. Here's the thing.

Whenever I work on things with people, no matter who they are, friends or colleagues or strangers, I always have a hard time collaborating. It's hard for me not to be in control of the project. I actually love the idea of making things with other people, and sometimes I have the best time doing it, but the minute they bring up an idea they have that I don't agree with or like- I have a hard time. I can never bring myself to say "sorry, i don't really like that idea", i hate hate hate saying no to people, or hurting their feelings, so I end up nodding politely and we end up with a finished project I dont like.

When you were writing good omens with Terry, how did you do it? How did you collaborate and make something so successful? Did you just never disagree with anything he came up with?

If you end up seeing this, thank you very much. This is a life- long problem of mine.

I suppose that both Terry and I knew that seeing that we were making art and telling a story, there wasn't any right or wrong about what we were making. It was art and it was fun. My only goal was to make Terry laugh, his goal was to make me laugh. With a subgoal of Get to the next Good Bit In The Plot Before The Other One did.

I don't remember any disagreements or arguments, any more than you see disagreements and arguments in people doing Improv comedy. We both knew the book we were writing, and each day we'd talk on the phone, the aim being to make the other one laugh. When we did that successfully we knew we were heading in the right direction.

One reason i suspect we never actually wrote the sequel after plotting it is that it would have been a job and not just fun.

It sounds like your collaborations aren't any fun. Better you should do solo stuff.

[colleendoran]

So grateful to have to kind of support of the Dunmanifestin team, Terry Pratchett's estate, and Neil Gaiman who pushed back the GOOD OMENS deadline so I could recover from cancer treatment and shingles.

Wish I could say it's all smooth sailing, but it isn't, especially those exciting neuralgia events.

But with all this pressure now off my back, I am able to get a little more rest, restructure my schedule, and am working steady again.

I should also mention that I had various focus and health issues while working on the Neil Gaiman graphic novel adaptations for Dark Horse. https://amzn.to/44R3aML

Had Neil and Diana Schutz not been incredibly kind and patient, I'd have never made it through TROLL BRIDGE in the first place, and then there would have been no SNOW GLASS APPLES and no CHIVALRY. And of course, Daniel Chabon was a saint of patience with me on those. Never an unkind or cross word.

I know there are other people who never seem to stumble and hit every goal, but I'm not one of them. And certain people used to be very contemptuous of issues I was dealing with.

I don't work with those people anymore.

But I think you can see the results I can get when I'm working with people who are willing to be flexible and patient.

I'm very grateful to the Dunmanifestin team, Neil Gaiman, Diana Schutz, and Daniel Chabon.

Couldn't do it without you.

[fuckyeahgoodomens]

Peter Anderson: Hi, my name is Peter Anderson. I'm from Peter Anderson Studio and we created the title sequence to Good Omens Season Two. So this scene is quite literally a continuation from Season One.

An interesting detail with this scene is the fly. The fly is significant because it stores Gabriel's memory.

Gabriel is hidden in every scene. This is the first time we see it.

This goat is half bird, half goat, representing a mistake in a moment of transformation.

In the pickled herring barrel, we have literally red herrings sticking out.

A lot of the gravestones have hidden engravings, easter eggs, all written by Neil.

[This one says: HERE LIES THE FORMER SHELL OF BEELZEBUB referncing Beelzebub having a new face in S2 :), another ones are: EVERYDAY, JANE AUSTEN, Here lies ADAM (the Adam from Adam and Eve is meant)]

Another hidden Gabriel.

Our same character that was trying to escape Hell in Season One titles is also trying to escape here, moving in the opposite direction to the rest of the procession. Except this time he's apprehended and dragged back into the procession.

Our Hell spider from episode four makes a little appearance in the background here.

Can you tell where the bus is going? Director Douglas McKinnon selected Powell and Pressburger's Stairway to Heaven to put on the billboard.

Another thing to note here is the type is all handmade specifically for Good Omens. The Alphabet only exists within the show.

The big floating turnip is a nod to Azirafel's magic tricks.

The Ladies of Camelot poster we pulled from the show.

We added plaques to the back of the chairs and Neil chose who to honour.

[There are: A TALE OF TWO CITIES by CHARLES DICKENS, PRIDE AND PREJUDICE by JANE AUSTEN, THE CROW ROAD by IAIN BANKS (twice!) and GOOD OMENS by TERRY PRATCHETT (Neil missing for some reason :) <3)]

Saraqael made an appearance from Heaven.

Our Space is back from Season One. Aziraphale and Crowley are having a little dance here. A moment of flirtation. There's a tiny planet in the middle that comes into existence at this moment.

Our Scottish tartan hills make an appearance here.

The aeroplane and the airline is a little bit of a clue here.

[THY KINGDOM AIRWAYS 👀]

It's raining love hearts in reference to Aziraphale's attempt at making Maggie and Nina fall in love.

Here are elevators to Heaven and Hell. A wee thing to spot. Here is Gabriel in the lift arriving from Heaven.

We've updated our flags to reference some of the plotlines in Season Two. For example, The Second Coming.

The movie poster artwork changes every week, representing the episode plotlines and the minisodes. We made the posters to look like the time period and in this case we've got a Good Omens version of Buddy Holly.

[The posters are:]

In the snack bar some of our popcorn is actually communion wafers.

There are specific characters from Season One in the boxes watching the movie as the procession goes by. This includes some of our original concept art from Season One.

The duck playing the accordion is from a newspaper headline that someone is reading in The Dirty Donkey from one of the episodes.

[this is also from the Good Omens book :): "Daily Mail. 'Letter From America.' Um, August the third," said Newt. "Just after the story about the woman in Worms, Nebraska, who taught her duck to play the accordion."]

Each episode is showing a new movie on the screen, each one selected by Douglas, and has clues about what's to come.

The season one phone box tumbles in the background.

The big mountain is made of all the ingredients from Season Two and a couple of remnants from Season One. We are heading towards the biggest Easter Egg, which is the lift. We're heading towards the Second Coming..

[denimbex1986]

'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”