#guess who’s been reading and watching good omens?

[rallentando1011]

certain ineffable things

(rise Donnie x touch starved gn reader - little bit of angst, mostly fluff) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Lazy circles drawn on hips.

Tender pats on the shoulder or head, conveying much more than mere words.

Nudges of encouragement or of endearment or at least conveying that someone else was there.

Various affectionate displays - all luxuries experienced in the most painfully infrequent intervals.

 At least, they were to you.

Home definitely wasn’t the place to be seeking out stuff like that - your upbringing had all but made certain of that - nor was anywhere with your colleagues or friends. Any time anyone so much as got near, your skin seemed to crawl and spine shivered and-

In short, it seemed an endeavor destined to fail.

That wasn’t to say you didn’t like it. The physical contact part, that was; the yearning and all that was inarguably awful.

But the occasional touch or elbow rub or hug just absolutely made you melt. Only when you felt like it though. And normally only when you initiated it. And typically only with a certain purple clad significant other-

A hand grasped onto yours.

You snapped back to the present, sitting in Donnie’s lab where you’d been idly passing him tools and utensils as needed and he’d been discarding them back into your palm, and where a misunderstanding where each of you thought the other to be passing them something and extended two empty hands made quite the startling connection of the two.

“Sorry!” Your hand retracted as if repulsed by his. “Sorry.”

He jolted on his own accord before looking over at you. “You alright?”

“Are you?”

Donnie blinked. “You shuddered as if I transferred a few thousand volts which, considering my current field of experimentation, is feasible. Did I do something wrong?”

“No, not at all.” You shifted uncomfortably in your seat. What a way to get dragged out of a soliloquy. “It just, uh, caught me off guard is all. What about you? You just about leapt out of your seat.”

“All’s good on my end.”

“Yep. Same here.”

“Alright then.”

A terse moment passed. Despite how fervently you hoped he’d turn back to his work and drop the upsettingly awkward conversation, Donnie’s softly confused gaze stayed fixed on you. 

It made your stomach churn in a manner halfway between flustered and unbearable - that was to say, leaving sounded like a viable option.

“You know what? I might go get a snack or something; it’s been a minute since I had anything so...”

“Right. Want me to have S.H.E.L.L.D.O.N. fetch you something?”

“No!” You took a deep breath upon realizing you were nearly shouting. “No, that’s quite alright. I don’t mind moving around a little bit.”

“Oh. Okay.” Donnie remained wide-eyed and immobile, tracking you curiously even as you moved for the door. He probably kept that up as long as he could, as long as you were in his sight before going back to work, not that you knew for certain, of course. You had squared your shoulders and rushed out as swiftly as possible, only easing up when you reached the kitchen.

You set straight to work on that snack and a warm drink to help you recuperate.

With a sigh, you prepped a kettle on the stove, leaving it to boil as you ventured mindlessly to the pantry.

After retrieving something to munch on, something easily poppable, you returned to an eagerly whistling kettle, the contents of which you quickly emptied into an eagerly awaiting mug. You plucked a tea bag from the cabinet adjacent to the stove and dunked it in, setting a timer.

As the tea steeped, you tried not to do so in your thoughts. Swimming and swarming uncomfortably through your brain with unpleasant reminders of how unfairly you’d behaved earlier, how unfair the circumstances around how averse you felt toward simple contact were-

No, not going there right now. You busied yourself with snagging pieces of your snack, losing your thoughts under the fervent sound of crunching and grinding and-

Beep. Beep. Beep.

Right. The tea.

Steeping over and tea bag tossed, you gathered your bearings and paused in the doorway. On one hand, you could go back to the lab and talk things out like a sensible person. On the other hand, cowering away in Donnie’s room was also there.

“Psh.” You shook your head lightly at yourself and trudged your way to his room, ever the craven.

You sipped at your earl grey contentedly, navigating around stacks of thick books and planters filled with rich soil and plum-colored tradescantia. Donnie, ever the botanist at heart.

Following the oh-so-perilous journey across his purple-fluorescently lit room, you settled on his mattress. Something struck you as funny in a deprecating sort of way when you sat - going into his room uninvited and making yourself at home on his bed seemed less intimate than simply coming into contact with him. Maybe you were just desensitized to eradicating his personal space but still quite opposed to doing the same with his personal bubble.

Yes, it was funny. Pathetic, too, but ironically funny nonetheless.

You couldn’t remember the last time you purposefully came into contact with someone and liked it. Like, genuinely, when was the last time you were touched?

Yes, sometimes it happened out of necessity - someone helping fasten on a bracelet’s clasp or zip up an outfit or something of the sort - other times it happened by accident - like earlier - but other than that, you hadn’t the foggiest idea of when you’d last sought intentional contact with anyone. All you knew was that it had been a painfully long time which made it a painfully sore subject.

The quiet shuffle of steps made a sudden appearance, ones you could recognize as Donnie’s without even looking up. So you didn’t.

A weight settled a considerable distance away from you on the bed, the sounds of the anxious pops of phalanges and the wringing of wrists making it even more apparent it was him.

You took a long, slow sip of your tea, savoring the last bit of warmth cascading down your throat before deftly discarding the empty mug on his busied nightstand.

You shuffled.

Talking, right? That was what was supposed to, what needed to come next, right?

Hashing it out verbally, coming to a resolution, going back to sitting in the lab with hardly a word exchanged and certainly no skin brushing by skin.

How do you ask someone why they scarcely touch you without sounding inappropriate or impotent? Not exactly a normal thing to ask. Or feel.

And how do you describe the niche feeling of wanting to feel any kind of contact but only under the most specific of circumstances?

Daunting, it was. All of it.

“Do you want to talk about earlier?” Donnie broke the silence.

The shake of your head was nigh indiscernible, but he perceived it nonetheless.

He twiddled his thumbs.

You cleared your throat.

He looked up from his lap.

You cautiously extended your arms out. An invitation to skip the words and go straight to the resolution.

Hesitantly, his hand met yours, the feeling electric, burning as his digits slid across yours to take gentle hold of you.

The two of you met eyes and, upon seeing no disapproval, continued with the utmost care.

You couldn’t recall which one of you moved to lay down first, but the other quickly reciprocated the shift, both of you ending up facing each other on silken violet sheets.

Legs tangled lightly for the purpose of pulling each other closer.

Tridactyl hands lightly glided to your sides, as if handling something delicate.

Yours made their way up, joining together behind his neck.

“I’m being so honest right now: if you want to stop, we’re stopping,” you voiced quietly yet surely.

Lazy circles on your hips drawn by his thumbs drew you in, drawn by thumbs that had increasingly more bravado by the second.

“Seriously, any moment you’re done, we’re done.”

A low hum sounded his amusement.

“Not as in done done, like done with this specific-”

“Respectfully,” Donnie interjected lightheartedly, “shut up. I’m good if you’re good.”

“…”

The silence this time once again carried an awkward air, but it was decidedly less insufferable.

Another second was spent before he cleared his throat, not wanting to misinterpret your silence. “You’re good?”

“Mmhm.”

“Then it’s good.”

With that, you decided his advice to shut up was the best idea you’d heard all day and did so, nuzzling your face into his neck sleepily. The reverberating churr and tighter hold you received in return were exquisite.

Oftentimes words proved to be the best and most concise way to convey a message; however, sometimes actions took that distinction, able to show as opposed to tell certain ineffable things.

[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!”

[santacoppelia]

Putting the Meta in "Metatron"

(couldn't resist the pun, sorry)

Ok, this has been tickling my brain for a while. I've been thinking about how The Metatron designed his role and discourse specifically to manipulate Aziraphale into the end result we saw in the last minutes of S2. I become obsessed with it because… well, I'm a bit obsessive, but also because there were many really smart writing decisions that I loved (even when I despise The Metatron exactly for the same reasons. Hate the character, love the writer). If you haven't watched Good Omens Season 2, this is the moment to stop reading. Come back later!

We already know that in Book Omens, the role of Gabriel in the ending was occupied by The Metatron. Of course, the series introduced us to Gabriel and we won a lot by that, but I feel that the origins of The Metatron should be considered for any of this. He is not a "sweet old man": he was the one in charge of seeing over the operation of Armageddon; not just a stickler of rules, but the main promoter for it.

However, when he appears in the series finale, we first are primed to almost pass him by. He is in the line for buying coffee, using clothes that are:

obviously not tailored (almost ill fitted)

in dark tones

looking worn and wrinkled

This seems so important to me! All the angels we have seen are so proud of their aspect, wear clear (white or off white) clothes, pressed, impeccable (even Muriel), even when they visit the Earth (which we have already seen on S1 with all the visits to the bookshop). The Metatron chose a worn, comfortable attire, instead. This is a humanized look, something that fools all the angels but which would warm up someone very specific, can you guess?

After making quite a complicated coffee order (with sort of an affable and nervous energy), he makes a question that Crowley had already primed for us when asking Nina about the name of the coffee: having a "predictable" alternative and an unpredictable one.

This creates an interesting parallel with the next scene: Michael is discussing the possibility of erasing Aziraphale from The Book of Life (a punishment even worse than Holy Water on demons, because not having existed at all, EVER is definitely worse than having existed and ceased to exist at some point) when The Metatron arrives, interrupts the moment and signals having brought coffee. Yup, an amicable gesture, but also a "not death" offering that he shows clearly to everyone (even when Michael or Uriel do not understand or care for it. It wasn't meant for them). He even dismisses what Michael was saying as "utter balderdash" and a "complete piffle", which are the kind of outdated terms we have heard Aziraphale use commonly. So, The Metatron has put up this show for a specific audience of one.

The next moment on the script has Metatron asking Crowley for the clarification of his identity. Up to this moment, every angel has been ignoring the sprawled demon in the corner while discussing how to punish Aziraphale… But The Metatron defers to the most unlikely person in the room, and the only one who will push any buttons on Aziraphale: Crowley. After that, Aziraphale can recognize him, and Metatron dismisses the "bad angels" (using Aziraphale's S1 epithet) with another "catchy old phrase", "spit spot", while keeping Muriel at the back and implying that there is a possibility to "check after" if those "bad angels" have done anything wrong.

Up to this moment, he has played it perfectly. The only moment when he loses it is when he calls Muriel "the dim one", which she ignores… probably because that's the usual way they get talked to in Heaven. I'm not sure if Aziraphale or Crowley cared for that small interaction, but it is there for us (the audience) to notice it: the sympathy the character might elicit is built and sought, but he is not that nice.

After that, comes "the chinwag" and the offer of the coffee: the unnecessarily complicated order. It is not Aziraphale's cup of tea (literally), but it is so specific that it creates some semblance of being thought with care, and has a "hefty jigger" of syrup (again with the funny old words). And, as Aziraphale recognizes, it is "very nice!" (as The Metatron "jolly hoped so"), and The Metatron approves of him drinking it by admitting he has "ingested things in my time, you know?". This interaction is absolutely designed to build a bridge of understanding. The Metatron probably knew that the first response he would get was a "no", so he tailored his connection specifically to "mirror" Aziraphale: love of tasty human treats he has also consumed, funny old words like the ones he loves, a very human, worn, well-loved look. That was the bait for "the stroll": the moment when Aziraphale and Crowley get separated, because The Metatron knew that being close to Crowley, Aziraphale would have an hypervigilant soundboard to check the sense of what he was going to get offered. That's what the nasty look The Metatron gives to Crowley while leaving the bookshop builds (and it gets pinpointed by the music, if you were about to miss it).

The next thing we listen from The Metatron is "You don't have to answer immediately, take all the time you need" in such a friendly manner… we can see Aziraphale doubting a little, and then comes the suggestion: "go and tell your friend the good news!". This sounds like encouragement, but is "the reel". He already knows how Crowley would react, and is expecting it (we can infer it by his final reaction after going back for Aziraphale after the break up, but let's not get ahead of ourselves shall we?). He even can work up Muriel to take care of the bookshop while waiting for the catch.

What did he planted in Aziraphale's mind? Well, let's listen to the story he has to tell:

"I don't think he's as bad a fellow… I might have misjudged him!" — not strange in Aziraphale to have such a generous spirit while judging people. He's in a… partnership? relationship? somethingship? with a demon! So maybe first impressions aren't that reliable anyway. The Metatron made an excellent job with this, too.

"Michael was not the obvious candidate, it was me!" — This idea is interesting. Michael has been the stickler, the rule follower, even the snitch. They have been rewarded and recognized by that. Putting Aziraphale before Michael in the line of succession is a way of recognizing not only him, but his system of values, which has always been at odds with the main archangels (even when it was never an open fight).

"Leader, honest, don't tell people what they want to hear" — All these are generic compliments. The Metatron hasn't been that aware of Aziraphale, but are in line with what would have been said of any "rebel leader". They come into context with the next phrase.

"That's why Gabriel came to you, I imagine…" — I'm pretty sure The Metatron didn't imagine this, ha. He is probably imagining that the "institutional problem" is coalescing behind his back, and trying to keep friends close, but enemies closer… while dividing and conquering. If Gabriel rebelled, and then went searching for Aziraphale (and Crowley, they are and item and he knows it), that might mean a true risk for his status quo and future plans.

Heaven has great plans and important projects for you — this is to sweeten the pot: the hefty jigger of almond syrup. You will be able to make changes! You can make a difference from the inside! Working for an old man who feels strangely familiar! And who recognizes your point of view! That sounds like the best job offer of the world, really.

Those, however, are not the main messages (they are still building good will with Aziraphale); they are thought out to build the last, and more important one:

Heaven is well aware of your "de facto partnership" with Crowley…

It would be considered irregular if you wanted to work with him again…

You, and you alone, can bring him to Heaven and restore his full angelic status, so you could keep working together (in very important projects).

Here is the catch. He brought the coffee so he could "offer him coffee", but the implications are quite clear: if you want to continue having a partnership with Crowley, you two must come to Heaven. Anything else would be considered irregular, put them in a worst risk, and maybe, just maybe, make them "institutional enemies". Heaven is more efficient chasing enemies, and they have The Book of Life as a menace.

We already know how scared Aziraphale has always been about upsetting Heaven, but he has learned to "disconnect" from it through the usual "they don't notice". The Metatron came to tell him "I did notice, and it has come back to bite you". The implied counterpart to the offer is "you can always get death". Or even worse, nonexistence (we have already imagined the angst of having one of them condemned to that fate, haven't we?)

When The Metatron arrives, just after seeing Crowley leave the bookshop, distraught, he casually asks "How did he take it?", but he already knows. That was his plan all along: making them break up with an offer Aziraphale could not refuse, but Crowley could not accept. That's why he even takes the license to slightly badmouth Crowley: "Always did want to go his own way, always asking damn fool questions, too". He also arrive with the solution to the only objection Aziraphale would have: Muriel, the happy innocent angel that he received with so much warmth and kindness, is given the opportunity to stay on Earth, taking care of the bookshop. The only thing he would have liked to take with him is not a thing, and has become impossible.

If God is playing poker in a dark room and always smiling, The Metatron is playing chess, and he is quite good at it (that's why he loves everything to be predictable). He is menacing our pieces, and broke our hearts in the process… But I'm pretty sure he is underestimating his opponents. His awful remark of Muriel being "dim"; saying that Crowley "asks damn fool questions", and even believing that Aziraphale is just a softie that can be played like a pipe… That's why telling him the project is "The Second Coming" was an absolute gift for us as an audience, and it prefigures the downfall that is coming — the one Aziraphale, now with nothing to lose, started cooking in his head during that elevator ride (those couple of minutes that Michael Sheen gifted to all of us: the shock, the pain, the fury, and that grin in the end, with the eyes in a completely different emotion). Remember that Aziraphale is intelligent, but also fierce. Guildernstern commited a similar mistake in Hamlet, and it didn't go well:

"Why, look you now, how unworthy a thing you make of me! You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass, and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me."

I'm so excited to learn how this is going to unfold!! Because our heroes have always been very enthusiastic at creating plans together, failed miserably at executing them, and even then succeeding… But now they are apart, more frustrated and the stakes are even higher. Excellent scenario for a third act!

*exits, pursued by a bear*

[fuckyeahgoodomens]

Ooh! A wonderful interview with Rich Keeble who played Mr. Arnold (the one with the Doctor Who Annual :)) in S2! :)❤

Q: In Good Omens 2 you play Mr. Arnold, who runs the music shop on Whickber Street. Were you a fan of Good Omens before joining the cast, and is it challenging to take on such an iconic story which is already loved by a huge fanbase?

A: “There’s always pressure if you’re working on something with an existing fanbase and people might have an idea already as to how you should be approaching something. To be honest I was aware of the show but I hadn’t actually seen it before I was asked to get involved. I knew it was something special though! I remember talking to Tim Downie [Mr. Brown] about how when you tape for certain things you know if something’s a “good one”. Of course by the time I was on set I’d watched Season 1 and read the book. 

I had an interesting route into the show actually: I was asked at the last minute to read the stage directions at the tableread on Zoom, and Douglas [Mackinnon] the director called me up to discuss pronunciations of the character names etc. To prepare further I quickly watched the first episode on Prime Video, and I was very quickly drawn into it. A couple of hours later I was on a Zoom call with David [Tennant], Michael [Sheen] (with his bleached hair), Neil [Gaiman], Douglas and the whole team, including Suzanne [Smith] and Glenda [Mariani] in casting. After that readthrough I asked my agent to try and see if she could shoehorn me in and she came back with a tape for Mr. Arnold saying “you play the piano don’t you…?” They wanted me to demonstrate my musical playing ability, so I rented a rehearsal studio room in Brixton for an hour and filmed myself playing piano (and drums just in case), then I did my scenes a couple of different ways and I guess it wasn’t too terrible!”

Q: During episode five you mimed to music written by series composer David Arnold alongside a real string quartet – this must have been very immersive! How did it feel to work with David, and bring the ball to life?

A: “I actually didn’t meet David Arnold sadly, but I did work with Catherine Grimes, the music supervisor who is lovely. David was at the London screening but I missed an opportunity to go and say hello to him which I kicked myself about. 

I remember before I was in Scotland there was a bit of uncertainty as to whether I would need to play anything for real or not, so I practised every day playing loads of Bach and other music I thought was era-appropriate just in case they asked me to do anything on the fly. So yes, it was very immersive as you say! They sent me three pieces of music to learn which I practised in my Edinburgh apartment on a portable folding keyboard thing I bought. They introduced me to the string quartet (John, Sarah, Alison and Stephanie) and I tried to hang out with them when I could. On the day we all had earpieces to mime to. I had to mime while listening out for a cue from Nina [Sosanya] from across the room, then deliver my dialogue and carry on playing, which was tricky! The quartet and I helped each other out actually: Douglas would say something like “let’s go from a minute into the second piece of music”, I’d look at the sheet music and whisper “where the hell is that?” and one of the quartet would say “we think that’s bar 90” or something. Here’s a little bit of trivia: the shooting overran and the string quartet couldn’t make the last day, so they found some incredible lookalikes to replace them for the scene when we get lead out of the bookshop through all the demons, although I think they also kept them deliberately off camera.” 

Q: What did you think of your music shop when you first saw the set? Did you have a favourite poster or prop?

A: “I thought it was incredible! It could’ve been an actual music shop with all the instruments hanging up with the “Arnold’s” price tags on. The attention to detail was incredible, well IS incredible as I understand it’s all still there. It’s hard to pick a favourite to be honest. I did a little video walkaround on my phone at the time so maybe I’ll post that if I won’t get in trouble. Interestingly the shop interior itself was elsewhere on the set to the shop entrance you see from the street. You walk out of Aziraphale’s shop, over the road, through the door of the music shop and… there’s nothing.” 

Q: Mr. Arnold is tempted into the ball by a Doctor Who Annual and is playing the theme in the music shop scene – are you a fan of Doctor Who in real life? And what was it like making those jokes and references in front of the Tenth Doctor David Tennant?

A: “I’ve always dipped in and out of Doctor Who over the years since Sylvestor McCoy, who was doing it when I first became aware of it when I was growing up. Even if you’re not a fan it’s one of those shows you can’t really get away from, so doing that particular scene in front of David was really fun, and of course Douglas had directed Doctor Who as well. Apart from the amusing situation of two supposed Doctor Who fans talking about Doctor Who without realising they’re in the company of a Doctor Who, I also seem to remember Michael being the one to suggest that he would deliver his “due to problems at the BBC” line directly to David.

Oh, and I think it was actually my idea to grab the annual off the harpsichord before joining the queue behind Crowley at the end of the ballroom scene (which we’d shot weeks earlier at this point). When we were blocking it out and rehearsing I knew I had to leave my position and get to the front for my ���surrender the angle” line, and then later it just felt like I wouldn’t leave without the annual so I ran back through everyone to grab it. Nobody seemed to have a problem with me doing that so I just carried on doing it when we shot it! I do remember it being a fun set with Douglas and the team being very open to suggestions.”

Q: How did you balance filming both Good Omens and BBC Ghosts at the same time?

A: “Luckily both shows were a joy to work on, and everyone seems to know about both of them. We were shooting them in early 2022 and I also had a little part in an ITV drama called ‘Stonehouse’, starring Matthew Macfadyen. I usually never know when I’m working next so to have three great TV jobs at once was very unusual. There was all this date juggling and I actually almost had to turn down Ghosts due to clashes. Luckily both shows had to move some dates so it worked out. But yes, I spent two weeks up in Scotland shooting all that Good Omens ballroom stuff, then I came back down to London to do Ghosts, knowing I’d be back up to shoot my scenes in the music shop in a couple of weeks. Now, when I found out who was playing my wife in Ghosts I couldn’t believe it: Caroline Sheen – Michael Sheen’s cousin! She was amazing and that was another great set in general. I say “set”, but it’s all filmed in that house which surprised me. I’d worked with Kiell [Smith-Bynoe] and Jim [Howick] before, and Charlotte [Ritchie] was in the Good Omens radio play a few years ago and a big fan of the book. Charlotte’s very musical of course and we got talking about my folding keyboard I had for practising my Good Omens stuff, and she ended up setting it up in the house for us to have a play on!

Now, when we’d shot all our internal scenes there was this big storm forecast, and our external scenes were scheduled for the day of the storm, so that had to be moved into the next week. It meant I ended up shooting those scenes outside the house, then going straight back up to Scotland to shoot the Good Omens music shop scene the next day! When I mentioned to Michael I’d just worked with Caroline he said “ooh she’s in Ghosts is she!” and revealed that she’d texted him about me which was rather surreal. Then later after the Ghosts wrap party Kiell gave me a part in his Channel 4 Blap, so at the time I felt like I was killing it career wise, but the industry quietened a bit after that and my workload eased off over the year so I was in my overdraft by November.”

Q: What are your plans for the future – can we expect to see you in something else soon?

A: “This year, after a bit of a quiet start, I was very fortunate to work on a Disney+ show called Rivals which stars… David Tennant! I think I’m allowed to say my character is called Brian, and I shot five episodes so that was another really amazing job, and great to work with David again (I told him he must be my good luck charm, although I hope he’s not sick of me). That should be out at some point in late 2024. Other than that I’ve filmed a few other bits I presume will be out next year, one of which is called Truelove on Channel 4 which actually looks really good. That starts early January. Of course now Season 3 of Good Omens has been greenlit, I would love Neil and the gang to have me back on that… but I can only keep my fingers crossed!”

[neil-gaiman]

Hello, I know I’m a little late after the release of good omens season 2 but I did only watch it at most 7 days after it’s release on BBC iplayer (or Amazon Prime, my memory is bad I can’t remember what platform I watched it on). I have only just thought of something to say:

how dare you

I’m joking I’m sorry, beautiful and tragic and I never cry over films or shows but this was one of the few that had me… verging on tears (trust this is not a criticism but one of the highest compliments I can give lmao). The love the loss all that poets like me love for 😔💔💔💔.

I can’t wait for season three if it comes, and thank you (coincidental or not) for making all the fan canons canon, that was really fun to have us included. I’m asking for the book of good omens from my parents and I’d love to see your work written as I’ve loved all your books so far.

another topic to bring up: casting. Just 👏👏👏👏✨✨ bring one of the (if not the) best welsh and Scottish actors together. David and Micheal are becoming my world in the topic of acting. It’s just brilliant.

finally the questions, sorry if this was formal I just want to express my gratitude for how f-ing amazing the series was. Sorry if these questions have been asked before I’m just here to ask:

since there were obviously some fandom inclusion in s2 is there any chance we might be seeing theories or headcanons from the fan base become canon? For example the coffee theory might not as that could change the whole plot but little things like ships or backstories might be considered?

what are your thoughts on the coffee theory? Is it somewhat accurate? Does it intrigue you how creative people get? Are you shocked the fan base is that amazing at guessing your plots? Haha

is it conformed that Crowley was archangel Raphael pre-fall since he could access the files in Heaven?

And what are your thoughts on the ways your fan base is going? Are you proud of how good omens is doing ? And how silly creative your fans are? Do you like what people are doing with your creations?

thank you for reading !! seeing all your interviews and replies to past questions makes you seem like a really fun guy, you’re amazing ! I’ve made several friends start watching just so I can get rant to them and possibly get a s3 !!

- a very silly reader and watcher who was painfully formal in this ! :)

If there was fandom theory inclusion in Season 2 I wasn't aware of it, and I'm doing my very best to keep as far as I can from any Season 3 theories or ideas.

[wolfythewitch]

Hey i dont know if this makes sense but i love your bibleposting because it actually humanizes the bible and the people in it? I was raised in a fundamentalist christian church where everything was untouchable and there was no room for interpretation and ive been trying to deconstruct and idk after being told youre nothing because youre just human its so nice to see interpretations of the bible that are about people as much as they are about god

I guess im trying to say thank you for doing that and thank you for being cool lol also your art fucking rocks

Ahh thank you <3 I'm about to go on a slight rant, but I think that's where me and my parents fundamentally disagree about it haha. While it is a sacred text, it's also a historical/ancient book that's been cowritten by many different authors in a language I -- and I can probably guarantee my pastor-- don't speak. It's been translated and rewritten several different times, and has been cherrypicked through by men who are now probably dead to determine what's canon and not. It's fine to regard it as a holy text, but it isn't above discernment or interpretation. The pastor tells us his interpretation of it, and suddenly every other reading is wrong? That isn't a discussion at all. It's a Bible study not a Bible lecture. The bible and its scripture should not be untouchable, to claim it so is to speak for god

Okay rant over. I love humanizing characters! If the authors of the bible were so touched by their encounter with god that they wrote down pages and pages of it, then I find it fascinating to explore their experience. Not to bring up good omens but I just finished watching it so I will, but when they bring up that job loved his children, they were right. Did Job not love his former children? Did Isaac want to die? Didn't Moses feel anxious having to return to Egypt? Elijah was afraid. Jesus didn't want to die. Jesus was afraid. Exploring the humanity in these stuff is so interesting because in reducing a man to a myth, you make it so they are no longer a man. We can't live up to myths. We're human

[bluespiritshonour]

Somethings I noticed:

Katara, Suki and Azula are the only ones who haven't ever expressed any sort of misogynistic sentiment.

Aang would come a close second with minor mishaps here and there.

First, the girls:

Ty Lee, while fighting the Kyoshi Warriors: you're not prettier than we are.

Girl, where did that come from?

Mai has several instances of this when she says the Kyoshi Warriors’ uniforms are too girly (I don't mind her not liking how colourful they are; that's totally different) and later lowkey slut-shaming Ty Lee. And while she's rightfully unimpressed with Zuko's seashell (she's right Zuko, step-up your game) she could easily have countered his “Don't girls like these stuff?” the way Suki did with Sokka’s ideas about gendered generalisation. Also, you must have noticed that Mai's feminine too. She's just dark feminine to Ty Lee's light feminine.

Toph: she has absorbed a lot of toxic masculinity that's for sure. She isn't feminine, she light-heartedly teases Katara for being feminine and Aang too. She does give off the “one of the guys” vibes. You know which ones I'm talking about. “Are we going to watch two little girls fighting?” and later mocking Aang for his passivity.

But it is to be noted that Toph manages to do this without being racist to Aang. She's the one who mocks him the most about his pacifist beliefs (which are cultural to him) and she's kinda misogynistic the way she goes about it. But she's never racist to him. (I guess she is in the comics but fuck the comics). Even when Aang was really really nasty to her when Appa was stolen and she had every right to be mad at him—she wasn't. Given her age and her sheltered upbringing Toph's surprisingly mature. But I digress. Among the comics, I love the Lost Adventures only—and I love the spa day Katara and Toph have both in those comics and in the show. It feels like Toph's healing from that internalised misogyny? My reading of it is that just like girls in real world, Toph derides femininity because it has always been a chain to her. Her parents forced her to confirm so she hates it. But being friends with Katara probably let her heal that part of her. She's still not as feminine as Katara and mind you, nor should she be—let some girls never want to be feminine—it’s fine. But she learns to not to act out of a place of hurt.

Sokka: Sokka's misogyny was literally a plot point and he overcomes it. Also he and Aang have actually done drag and not been mocked for it. It's rare to see in media. The only other example I can think of is Good Omens.

His misogyny also feels kinda surface level (as opposed to Zuko in whom it's less obvious but seems more deeply ingrained).

Also. Zuko never did drag. Shame on him.

Aang: is the least misogynistic of the boys. The only instances I can think of are either kinda vague: when he tells Sokka that “It's nice dress!” It's kinda ambiguous if his tone was mocking or complimentary but it upsets Sokka nonetheless. And when he's upset at being played by a woman in Ember Island Players. The first time I watched it I felt it was OOC. But he was also kind of justified as it was racism and misogyny combined on behalf of the Fire Nation in portraying him that way.

Phew. These were purely my own opinions simply by the virtue of gender expression meaning different things to different people. I might say Mai is actually quite feminine while Toph isn't... But what even is considered masculine or feminine?

I love Katara and Toph's spa day because Toph learns that being girly wouldn't kill her—but she also doesn't suddenly become Ty Lee levels of feminine either. Some women just don't wanna be feminine. Oftentimes it's because femininity is derided by society itself—and that's something that one needs to heal from, like Toph did with Katara’s friendship—but everytime I've seen a story like that, the girl, upon realising that femininity isn't a bad thing is suddenly hyper-feminine.

Like, can we have them heal from internalised misogyny and still not wanna be feminine—even though they don't consider it bad or embarassing or fickle anymore?

Toph and Katara’s spa days do it perfectly.

When those girls mock Toph and Katara tells her she's pretty, I can't tell you much I loved it. The same feelings toward Suki’s “I am a warrior, but I'm a girl too.”

[lancrewizzard]

Please tell me you’re not a gaiman fan because it seems like you have issues with him and goddd me too

Okay this is a complicated question to answer and has got both more and less so in the last couple of weeks. Since there's still information coming out about the sexual assault allegations, I don't want to say too much now and then have to backtrack hugely, but even the very best case scenario makes his behaviour scummy as all hell. And I don't believe it will turn out to have been the best case scenario. So we'll just bundle the whole thing up with "yikes" and move on to things I've had a long enough time to think about and put proper thoughts around.

A month ago I'd have said that he seems like a decent bloke, but seems to have real trouble understanding experiences he can't relate to. The foreword to his short story collection Trigger Warning is a great example of this. He spent a while wittering on about his misgivings about trigger warnings as a concept, then remembered he knew someone with a severe phobia of tentacles and conceded that they had their place. He then proceeded to give a very dumb non-warning which completely failed to mention how something like one in three of the collected stories involved sexual violence. Great job Neil.

I already mentioned in the tags of that previous post my issues with his obvious lies to TV Omens fans who don't know any better. It's just annoying and stupid to lie about something that unimportant, unless it was actually an attempt to get disillusioned Book Omens fans back on side (in which case, wow that failed spectacularly).

And now I realise that everything else is about specific works of his, so I've stuck it under a cut if you don't want to see me bitch about Good Omens adaptational changes changes for the umpteenth time or go on a short heartfelt ramble about what was almost a perfectly crafted short story.

I'll be blunt, I only saw S1 of Good Omens, and while I enjoyed it, it was an incompetent adaptation. The fucking radio play managed to tell the same story with greater faithfulness and more elegance without a 3rd person narrator (and had the brilliant idea of having the opening and closing credits performed by Agnes Nutter's voice actress). Compare and contrast the show making God the 3rd person narrator and exposition dump, and how that changes the whole story from a humanist tale where people are all people and whose choices matter, where God's grand plan night not even exist, to a story where everything implicitly or explicitly is going to God's plan under God's watchful eye.

And I will never comprehend how Gaiman successfully argued to have a whole set built to film Agnes Nutter's death, but then said that for practical reasons they couldn't have Crowley revive the dove. The angel accidentally killed a dove and the demon intentionally revived it! It's so thematically important! Neil why are you like this? Do you understand your own works or was Pterry the only one of you who put actual thought into things' meanings?! HOW DO YOU FUCK THIS UP NEIL? I UNDERSTOOD ITS IMPORTANCE WHEN I WAS 15 NEIL!

Ahem. Moving on.

Neverwhere is the most recent Gaiman book I've read and it's a good showcase of all the issues I have with his writing. The protagonists are dragged along by the plot, they're Special TM by birth or fate, not by the choices they make. The world they inhabit is wonderful, detailed, and vibrant, but I found that far more interesting than the protagonists inhabiting it. We got a random rape backstory for a girl whose main role was to die so the male protagonist feels bad. The way Gaiman described every female character bar one in terms of their attractiveness made me unsure if it was him or the protagonist who was weird about women (although I guess I have the answer to that now). Funny how Gaiman didn't shy away from things and people smelling bad right up until a hot woman who had been fighting, running, and falling over in a swamp apparently smelled not of sweat and stagnant water, but "musk". Really normal, that. There were wonderful descriptions and great moments, but after that first SA moment I couldn't relax and enjoy the ride because I was always on edge waiting for the next time Neil felt the need to be Like That.

Then there's my beloved, hated The Truth is a Cave in the Black Mountains. It's almost the perfect neat fairy-fable where every little detail is paid off later. It's a story of grief and vengeance and greed. It's about the price of fairy magic. And it has a pointless scene stuck in of marital rape. It has no purpose. It does nothing for the pacing or themes or characters. It never comes up again. I hate it.

Stuff can be horny or harrowing or both, I don't care, but Gaiman just drops SA into things for no clear reason as a generic Bad Thing Happen, Make Tone Dark. It's distasteful and inelegant. It cheapens the rest of the writing by its presence.

The simple truth is that Neil Gaiman seems to have a near pathological urge to shove sexual violence into places it has no need or right to be. It's disgusting but sadly not shocking that this apparently includes his personal life.

[ilovedthestars]

and also just. the way ambiguity in relationships is assumed to be romantic, too. see, i wrote that whole post a while back about how I loved ambiguous fictional relationships, with deep devotion but no clear label as to the type of relationship. i called it love as in significance--that's where my tag comes from. love as in being important to someone, in whatever form that takes.

and what I said then about how this applies to romance still applies--when I'm reading about a fictional romance, I'll be much more engaged with one that feels built on that foundation of significance than one that isn't. flirting, the trappings of modern courtship, those feel empty to me without the feeling that these characters already matter to each other. (this is why in real life I'm so perplexed by things like dating apps, or people who actively seek out romance with strangers--I just personally can't fathom the idea of wanting that kind of closeness with someone you don't already know and care for.)

but in regards to ambiguity....I feel like I've been burned a little. I loved ambiguity because it meant you could take many things away from it. other people could see romance, but I could see the kind of deeply devoted platonic relationship that, let's be honest, is incredibly rare in fiction. but I'm starting to feel frustrated by the way ambiguity is assumed to be romance, without an explicit statement that it's not. (I've joked about the obligatory "no hetero" moments that have to be inserted into the start of a piece of media that has a male and a female protagonist with any kind of relationship other than romance--the "not with those lips" moment in the D&D movie, for example. It's funny, and i appreciate it being made very clear, but it's kind of sad that it has to be.)

and...okay, there's an elephant in the room that i really should acknowledge. I was talking about it in that first post, but I made a point of never mentioning it, although i'm sure plenty of people guessed.

I haven't watched Good Omens season two. I'm not sure if I'm ever going to. When I first wrote about my love for ambiguous relationships back in February of 2023, Aziraphale and Crowley were at the top of my list. When I wrote about how ambiguity left room for anyone to see themselves represented, and how i wished that a little more space was left for aro voices, I was talking about them. I was frustrated by people who saw that ambiguity as "queerbaiting"--didn't they see that the story was already queer, that Aziraphale and Crowley cared so deeply for each other, and whether they kissed or not wouldn't change anything?

But they did kiss. And it did change something. I don't feel like there's a place left for me anymore. And there's social pressure to celebrate, to be happy for another canon queer love story on TV, and god I'd love to celebrate that, but I can't help but feel a little betrayed by a story that I thought would leave space for me.

(and yes, a kiss doesn't have to mean romance--but in this, in hollywood, it's assumed to. the creators and the audience both understand it as such, unless someone stops to say no, we're friends who kiss each other the mouth, we're subverting your expectations. because the expectations are inescapable.)

I've been trying to give myself the space to feel upset about this. To remember that aro stories are queer stories too. And I think I'm raising my standards. I'll take ambiguity--I'll take any carved-out space I can find. But I'm not sure I trust it anymore. I want explicitly platonic relationships with the level of love and devotion and care usually reserved for romance. I want to read and watch and listen to stories about people who are significant to each other without romance even being in the picture. I want love that isn't synonymous with romance. I'm going to stop feeling like I have to settle for anything less.

[irreverententity]

⌞✦ 𝐈𝐑𝐑𝐄𝐕𝐄𝐑𝐄𝐍𝐓 𝐄𝐍𝐓𝐈𝐓𝐘’s INTRO ✦⌝

── .✦ M Y B L O G

hello hello hello *tips hat* My name is Sirius but u can call me pads, z, or generational disappointment if you’re my family ! I’m legally 18 with the body of an 80 yr old

ıllı my blog will be chaotic and include everything from fit checks to anti-capitalism/facism rambles to hozier is jesus conspiracy theories to dying on the destiel was the og queerbaiting hill. this is my brain in a blog. everything will be tagged accordingly but buckle up anyway. I do have mental health issues which may be offhandedly mentioned and could be potentially triggering but that’s NOT what this blog is for. [if you’re here from my vent blog haiiii :D if you want my vent blog just dm :)]

── .✦ A B O U T M E

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　

▊▍ ‹ MY PRONOUNS ⸝⸝

he/him/his they/them/theirs

xe/xem/zyr it/its/its

de/demon/demons fall/fallen/falls

imp/imp/imp star/star/stars

sin/sin/sins ze/zem/zyr

✦ .　　　　　 . ˚ . . ✦ ˚

I generally identify as a problem. I’m queer, polyamorous, and have a qpp <3 gender wise…idfk anymore, but I use the labels nonbinary/transmasc/boycreature. I generally present as masc or androgynous but once i transition I plan on presenting more feminine bc I like to hoard all the genders 🤲🏼 (if you’re reading this, check your pockets, your gender may have been stolen)

I’m chronically ill (h-EDS + POTS) and disabled (autistic) !

random shit: i’m vegan, punk, a chronic caffeine/energy drink consumer, and if you haven’t guessed cliché — but there aren’t enough peer reviewed emo pre-teen claire’s rejected peircings haver bitches in the world anymore.

use tone tags with me !!

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　

✦ = current special interest ・

☓﹐⊂⊃﹒➜ interests: peircings/body mods, kinks/bdsm, crafting/patch work, bone collecting, cryptids, norse&greek mythology, art, writing, editing, sleeping, dead dove fanfiction, watching movies, doom scrolling + more

☓﹐⊂⊃﹒➜ my fandoms: ✦ doctor who, ✦ supernatural, ✦ good omens, helluva boss/hazbin hotel, yaelokre, sherlock, house m.d, the walking dead, lucifer, five nights at freddy’s, the marauders era (hp), marvel, star wars, star trek, arcane, the umbrella academy, shameless, the flash, the arrow + I like a lot of other fandoms that are dead/were never really fandoms/I enjoy the films but I’m not in the fandom

── .✦N A V I G A T I O N

do not interact. tagging system.

kintypes. credits.

[sonkitty]

The Sideburns Scheme Post #74

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 5, The Ball, Crowley giving Gabriel hot chocolate

...

Sideburns Check

This scene is brief and mainly shows Crowley's left sideburn since the right sideburn is too blurry to confirm much of anything.

Still, that long left sideburn fits into the longest-length category that happens around Gabriel when humans aren't around.

...

Brighter Red Streak Check

The more saturated red streak of hair can be found.

...

Hairstyle Changes

I don't really think the scene gives enough to work with on figuring out how the hair might have changed, but here is a composite picture so you can decide for yourself.

...

Earthly Objects

(For reference: Earthly Objects | Crowley's Name Usage or Lack Thereof in Season 2)

There have already been signs that we are dealing with an outside force, such as the Metatron, reading and/or editing the story as it plays out.

He's been possibly censoring the alcohol use by having the camera cut away during certain drinks.

Now he's going to start censoring words. If it isn't him, some outside force from the character speaking is doing it.

The story will make this censorship more evident later with Mrs. Cheng and Mrs. Sandwich.

It is not as clear here, but I do think it's happening.

Gabriel is not allowed to say Crowley's name during Good Omens 2—ever. He's been allowed to bend or break the rules, but this rule is one he cannot break.

Who is against using Crowley's name?

The previous scene just told us Uriel is.

A later scene will show that Uriel says, "which there isn't," followed by the Metatron saying, "which there isn't," when the Metatron notes the "institutional problem." That implies Uriel has been conditioned to think that way as part of an institutional problem. Uriel will also later be shown to be very alarmed and concerned about if they have done anything wrong, to displease the Metatron. So, that's a set of tangential clues that this name thing is related to what the Metatron wants.

In every ball invitation scene, Crowley's name was not said. Crowley's name was not said during his own invitation to the bookshop. It wasn't said when he was in Demon Mode and told Gabriel to jump out the window.

Muriel is the one who got to say Crowley's name in the previous scene before getting the message that they shouldn't do that again.

Even though they are guided on that rule, they still got that name in while these specific events are happening to bring in that supernatural zone that will let Crowley and Muriel meet when and where they do later.

I think Gabriel tries to say Crowley's name after receiving the hot chocolate and before Crowley leaves the room.

The word doesn't come out, and music overlays where it would be. It's just before Gabriel says, "You're really nice."

Crowley himself reacts as if he heard his name said.

With this name issue in mind, maybe there are two standard sets for this scene.

I am not sure of the below. These are guesses.

Crowley holding the cup would be point #1.

The name "Jim" on the mug would be point #2.

Crowley and Gabriel having their hands touch while Crowley gives the hot chocolate would be reciprocal touch they have for point #3.

Gabriel's attempt at saying Crowley's name would still be credited or at least intended for point #1.

Crowley's touch on the rug outside the room as he leaves would be point #2.

Gabriel drinking from the cup while altering the physical touch on that cup would be point #3.

...

For paying attention to the pockets...

Crowley's Tied Hands might retie if a blurred strike on a lapel edge is allowed. The other signs are there. His watch is visible when he says, "Don't thank me," His right index finger is extended when he starts to turn, pauses, and says, "And I'm not." His left thumb joint meets a jacket edge as he is crossing the threshold out of the room.

In addition to that, the Belt Head is shown with some focus when Crowley passes the cup to Gabriel. There is a light in the room leading to this one that is to Crowley's right when this Belt Head is shown closest to the camera.

When Gabriel tries to say Crowley's name and says, "You're really nice," the cut reminds us of the nearby lamp that could have been an overhead light for the Belt Head in this scene. Then the Belt Head gets another possible overhead light through the lamp to Crowley's left as he exits the room. There is yet another lamp that's to Crowley's left and feasibly above his Belt Head in the room Crowley enters on his exit. It's the same lamp that was the Belt Head's right-side Overhead Light when Crowley first entered in the previous scene he had with Gabriel.

Crowley has a small self-made pocket with his legs when he says, "Don't thank me."

Otherwise, the main pocket that interests me isn't actually in this scene but that the preceding Muriel scene is pocketed between the Demon Mode scene and this one.

...

Story Commentary

This scene calls back to a scene in season 1 in which Crowley reacted angrily, or seemingly angrily, to Aziraphale calling him "nice."

With Crowley no longer working for Hell, he denies being nice here, but his reaction isn't as strong or angry as what season 1 showed.

Crowley was not nice when he entered the room and even with my theory of the supernatural zone, he has an ulterior motive.

Crowley's manipulating Gabriel as a catalyst to bring in this supernatural zone, but he might be doing that from a previous agreement he had with Gabriel. The storming out sequence in episode 1 shows us that something was cut, and whatever it was, appearance swaps involving Gabriel, Aziraphale, and Crowley replaced it. That means Gabriel was in on a plan.

That plan led to this draft of the story we see that's going to have Gabriel and Beelzebub end up together, leaving their positions vacant and ready to be replaced.

Crowley is still doing all of these various actions with the supernatural zone as part of something for Gabriel. These things aren't done exclusively for Gabriel. I'm sure Crowley gets something out of it too. Based on how things eventually play out, it was a mutual agreement. Theoretically, Crowley and Gabriel are not friends, but they were, and what was left from that previous friendship was enough for this story to happen. Muriel probably had a big role in the matter as well.

...

This scene focuses more on both Crowley and Gabriel compared to their last shared scene in that Aziraphale is not mentioned at all. Humans outside in the street are not shown, as Gabriel's head largely obscures the window he almost jumped out of.

...

That's it for this post. Sometimes I edit my posts, FYI.

...

Main post:

The Sideburns Scheme

[di-42]

Good Omens is just I show I watch. No obsession here. Nope.

Edit: August 2024. I still love Good Omens, I do. I have come to think of the fandom as a virtual home. I cherish the other fans and I can't imagine my life now without the richness and the joy that fanart, fanfiction and fanwork bring to it.

But let me be clear: I believe the victims. I condemn, with no question whatsoever, the horrible actions of one of the co-author of the book and lead writer of the series.

My fictions:

And I Did. Rated E but plot driven.

They haven't talked for almost 2 years. The end of the world is approaching. They are on opposite sides. And they both know neither of them was ever going to make a different choice to the one they made.

This is a story about faith. This is a story about love. This is a story about loss. This is a story about being apart and about being reunited. This is a story about fighting. This is a story about choices.

Where do we choose to place our faith? Will a god we have faith in come and save us? Will a friend? A loved one?

When do we start doubting our faith? How long before we snap, before we raise our head? How far can we go before we crumble under the weight of our own misplaced faith? Under the weight of our choices?

What does it take to make us feel betrayed, abandoned, left behind? What does it take for us to turn our back on what in which we had faith?

Who are we loyal to, and who is loyal to us? Who do we trust, and who trusts us?

What are we ready to risk in the name of faith? What are we ready to lose in the name of loyalty?

When are we going to take our lives into our own hands? What are we going to fight for?

This is a story about unbreakable faith. This is, after all, a work of fiction.

OR:

Yet another Good Omens post season 2 fiction.

Second Chances And Second Choices

The second coming has failed and Aziraphale is hoping this is the beginning of his life with Crowley. But Crowley seems to be of a different opinion. That is, until old enemies turn up at Aziraphale's door.

Once the world is safe again, what happens next? Can Crowley and Aziraphale reconnect?

Rated teen and up.

Only Ever Meant For Someone Else

Human AU.

Every year, the night before Christmas, taxi driver Aziraphale drives passengers to and from the hospital for charity. On the Christmas morning of 2023 he was ready to go home and rest with a cup of tea, a mince pie, and a book after a long night.

Guess who?

“No, you may not!” Barked the other. Then he started pacing up and down the pavement, rambling to himself. “Anathema’s going to kill me. She’s actually going to kill me! She had to go into labour on fucking Christmas day, just my luck!”

Oh, dear.

“In-into labour?”

The stranger stopped pacing and, yet again, looked at Aziraphale sternly. He joined together the tips of his right thumb and forefinger, and punctuated his next words with a gracious movement of his hand.

“Yeah. It means she’s about to give birth.”

“Does it, now.”

One shot, rated teen.

I Prefer The Fluffy Ones Series:

In Vino Ludus

It's the year 2030. Crowley comes to the bookshop drunk, and Aziraphale can finally put all those years of eye-rolling practice to good use.

An as of yet canon divergent fluffy night in the life of an angel and a demon.

One shot, rated E.

Angel! Angel! They're At It Again!

It's the year 2030. The world never ended. Aziraphale and Crowley are living happily and safely together as a married couple. Everything would be well, if it wasn't that lately Aziraphale has been a bit busy. A bit distracted. Now, Crowley can't have that, can he? He seeks the advice of his girlfriends, who unwittingly give him an idea on how to liven up his marriage.

A fluffy and hopefully funny way to the South Downs cottage.

One shot, rated M.

An Angel And A Demon Go To A Halloween Party

And they are horny!

A silly, smutty little piece set in our favourite Ineffables' fluffy future.

One shot, rated E.

My poems:

Ineffable Chords

My recs Fictions I've read and what I like about them:

February's Fabulous Fictions

March's Marvelous Fictions

April's Amazing Fictions

May's Magnificent Fictions

June's Joyful Fictions

August's Awesome Fictions

September's Scrumptious Fictions

October's Oh, wow! Fictions

November's Notable Fictions

December's Delightful Fictions

My metas:

Justice for Aziraphale

On Season 3 and the Apology Dance

Aziraphale is in

Fluffery and Fuckery:

Aziraphale is the villain in Good Omens

You Said Trust Me

Sweet Crowley

Face Value

It's unthinkable

[din-miller]

ACTIONS HAVE CONSEQUENCES

Pairing: Din Djarin x gn!Reader

Word count: 1.4k

Summary: pirates come looking for Grogu but find you alone in the cabin instead

Warnings: canon-typical violence, mentions of decapitation, no angst, yeah you read that right decapitation but no angst to be found in this bad boy, it's just comical trash, crack fic really, reader is a sarcastic asshole, married couple, slightly unhinged reader, Din even more so and don't get me started on Grogu, cabin fic, mentions of Moff Gideon, mentions of med-school drop out reader,

A/N: this started off as a serious fic full of sorrow, then somehow turned into a night time comedy special. I'm proud of myself.

You don't normally let Din and Grogu head to the marketplace without you, but you woke up with a sore throat this morning and it hasn't gone away. You tried to convince your husband to let you join them. Fresh air would do you good, you had helplessly reasoned.

"Fresh air does nothing for sore throats. Rest does though mesh'la." Din argued back.

"Oh I didn't realise you were the one who dropped out of med school."

Needless to say, you didn't win that argument.

So now you're stuck in a cabin that you didn't know could be so quiet. For there only being three of you, the house is constantly loud. To be fair Grogu is now speaking in full sentences.

You've been alone before without them, but this time there's something unsettling. Like a bad omen is lurking in the daylight.

You should've contacted Din the moment the hairs on the back of your neck stood up. But you didn't and now you're standing in the living room with two men as you stare down the barrel of a blaster.

"You're going to regret this," You sighed, dramatically, "Look, I'm currently in the middle of making dinner and I have a sore throat. Can we get this over with?"

The tall one – let's call him Lance – glanced over at the short one – Manny. Yeah, that suits him – and sent him a baffled look.

"Where's The Child?" Manny growled and despite knowing you'll win this, you always do, your stomach turned at knowing they're here for your son.

With a shrug you crossed your arms non threateningly, "It's just me here. I'll let you know if I see a child though."

Lance glanced around the room, "You have a lot of kids toys for not having a kid."

"What? A person can't have a hobby?" You raised your brow, acting mildly offended.

Manny stepped forward, hand tightening around his weapon, "Enough! I know you have The Child. Give him to us and we won't kill you. Deal?"

"A deal?" You scoffed, "Why the hell would I make a deal with some lousy pirate? You're not even holding your blaster properly."

He looked down at his weapon, brows drawn tightly together, "I'm not?"

You tisked and pointed to the gun, "Allow me?"

When he gave a small nod you stepped forward, "Here, one hand grips right here... Good, now loosen this hand."

As soon as the blaster is loose enough you grabbed it out of his hand and pressed it against the lower region of his body. He froze, eyes going comically wide.

Lance, being weaponless already, raised his hands in an act of surrender. Honestly when you first felt like you were being watched you thought it would be a little more exciting than this. There's always next Monday you guess.

"You two are actually doing me a favour, bearing you don't have any allergies," You waited for them to shake their heads, "Good. Follow me into the kitchen. See, I've been trying out a recipe for my husband and I's anniversary – it's this weekend, you're not invited. Anyways, I'm not sure I have the correct level of spice to it."

"I'm sure your husband will enjoy it."

"Thank you Lance," You smiled and held a fork full of spicy food to his mouth. You watched as he took in the flavour and deemed it plenty spiced enough, "I'll get you boys a plate full."

Your eyes darted back and forth as they ate, taking in every reaction they had to each bite. It's a silent meal, rather uncomfortable for them you imagine.

Manny set down his fork, "This is our last meal isn't it?"

You blew out a breath, "Sometimes you gotta learn the hard way that your actions have consequences."

Lance politely raised his hand, "Can I have a glass of water?"

"Unfortunately, Lance, you can't. You know why? Because you're trying to murder my family, that's why." You growled, then cocked your head towards the door leading outside, "Now do I have to tie you both to the porch or can I trust you to behave and sit like good boys?"

"We'll behave," Lance said, stepping over the cabin's entry doorway, "Right Manny?"

The short man huffed, "I ain't itching for a blaster fire to the back, Lance."

They both sat on the bench and leaned back against the wall. You took a seat opposite of them, perched on top of the railing you had installed after you moved in.

"Who do you work for?" You asked, blaster twirling in your hand, safety on.

Manny rolled his eyes, "We work for ourselves."

You hummed, "Why us? Why the kid?"

"Figured it would be an easy target now that the Mandalorian is dead."

For the first time since he interrupted your day, you're taken back at his words, "Dead, you say?"

"Yeah, in the fight with Moff Gideon." Lance explained, "We heard you adopted his son."

You have to give him credit for knowing at least that part. You did adopt Grogu. Married Din the same day too.

How many people out there think Din's dead? And who's the dumbass that thought Moff Gideon could kill Din?

Your eyes narrowed in on Lance when his jaw dropped and you could see the faint shine of sweat gathered at his temple, "Am I seeing things?"

"Oftentimes yes, but that's him," Manny shrunk in on himself, eyes forward in horror, "That's the Mandalorian."

You look back behind you, your eyes locking in on your husband. He looks furious, even underneath all his armour. His blaster is already in his hand and floating beside him is Grogu. Your son has his hand held up directly in front of him, eyes squinted – a warning.

This is the proudest you've ever been.

"Ner kar'ta," Din's hands are on you, moving different parts of your clothing around searching for a wound he won't find, "Are you okay?"

Lance nodded, "A little parched – oh, you're not talking to me, right that makes more sense."

You smiled down at the man. He's absolutely hopeless, but it gives him a fun personality. Too bad he has to die.

"I'm okay, I promise," You reassured him, "How was the marketplace?"

"Dull without you there to keep us company," Din said, Grogu nodding in agreement, "How was resting?"

You glanced down at the two men, "I had some unwanted visitors interrupting my relaxation."

Din looked them over, "Why are they unharmed?"

"The only weapon I had in reach was Manny's blaster," You held up the weapon while simultaneously introducing Manny to your husband, "Felt wrong to kill a man with his own gun."

Din pulled Manny up by the back of his shirt, the short man standing on his tippy toes to avoid strangulation.

Manny patted Din's beskar chest piece of armour, "Look Mr. Mandalorian, this is all a misunderstanding-,"

"Yeah," Lance stood up and his friend shook his head, silently telling him to stop, "We thought you were dead."

Din dropped Manny. The man crumbled to the ground, Din's foot pinning him down. You watched as your husband's attention turned to Lance.

"And that gave you permission to hunt down my riduur and child?" He growled, every bit the Mandalorian these pirates fear, "Tell me why I shouldn't put your head on a pike for all your pirate friends to see."

Lance turned to you for help. You looked past him to your husband and nodded, "It would give me much pleasure to see shabuirs like them displayed as an example to why no one touches my family."

"What my riduur wants, they shall receive," Din hauled both men up, his grip tight enough to leave nasty bruises on their skin, "This should only take two hours. Longer if the tall one is stupid enough to run his mouth."

"Two hours!" Manny exclaimed, "I can cut my own head off in less than a minute. I'll even save you some effort and behead Lance too!"

"You don't understand," Din grinned under his helmet, body humming with anticipation, "The effort is my favourite part," Din nodded his head in your direction, "Eat without me, mesh'la. I'll be back in time to tuck Grogu in."

"I'll have the shower ready for you when you get home," You promised, "Oh, and make sure to take your time, alright?"

Din activated his jetpack, throwing down a quick 'i love you' before taking off. You looked down at Grogu, "Your buir and I will never let anything or anyone hurt you. We love you, kid"

[profanepurity]

POV: You are Lilith and you’ve been cursed by God for refusing to submit to a Twink. Every child you have is slaughtered and it’s unimaginably painful for you to have to watch your children suffer because of you. Fast forward a long ass time and you find some cool satanic worshippers that dig the idea of conceiving your child for you and the Devil, but they actually fuck you over with the blood magic stuff they used and now your son belongs to them. You don’t find this out until you’re about to bless him during his dedication ceremony after the woman you trusted to carry your son has the baby, which you have never been happier in your existence about. Said woman has the audacity to name your baby “copy” since she used the fetus of her own baby with the current Papa to make an antichrist. You can’t tell him who he really is or who you are, and all like five of the demon kings that you hang out with that love you so fucking much can’t do anything either because of that drippy ass pendant Mr. Salty is wearing giving him Solomon top energy. Now you’re terrified of what they’re going to do with your son and wondering how long it will be until they kill him, and you can only interact with him while you’re in your silly little human cosplay. 

Oh, and your son is being raised by rats for like the first couple years of his life because his dad thought it was a good idea. He’s never seen The Omen, but if he had he totally would have given Copia a hell hound. Rats are rad too though. 

But it all kind of works out, because you really really like the current Papa’s oldest son, and so do all the other Lords of Hell, so you decide to sort of gift him/ dump a third fratellino on him AND give him a sexy vampire Prime Mover that you have blessed yourself. 

Now all the Unholy Mother can do is wait until the wrath of God can come down upon the church when Jesus arrives. 

(If this is your first time seeing my au, I’m sorry lol. I’ve been in a shitty headspace all day so I figured I’d draw something sad- but also kind of a big lore drop?? I feel like I still have more lore to surprise you with 😏. I also wanted to show you guys a peak at more designs for the Lords of Hell before I post a promo for a little somethin somethin’. Can you guess who’s who lol? All the names are in the tags towards the end if you want to use that as your little demon name bank. It’ll let me know who’s done their homework and read “Guiding Star” lol 🖤)

[neil-gaiman]

Hi Neil,

I guess I've been working up to this letter for the last 4 years. I would just like you to know how much I appreciate everything you've done with Good Omens, and I mean that from my heart.

When season one aired, one of my best friends had just moved away, so I had a lot of feelings about Crowley and Aziraphale's friendship and the threat of its loss. And then of course the pandemic hit, and I was home with small children, missing everyone.

It was around this time that I listened to David Tennant's interview with Michael Sheen, where Michael talks about how life is hard, and when you find these things that make you happy you have to hold onto them. "These fragments I have shored against my ruins", etc. And those were such important words for me and allowed me to lean into Good Omens and let it shore me up.

Which it did. I found such a home in the character of Crowley, and I also was lucky enough to find my voice as a writer and enter an amazing creative community of kind and brilliant people. It re-affirmed my own queerness and gave me a framework to better understand it. I now have friends unlike I've ever had in my life and they really have have shored me up in the darkest of times.

A month ago my mom died, and it has been so incredibly hard. But again I found refuge in the story, which insists that the world is worth loving, despite everything. And I feel held by the experiences of you and the other creators, because I know you have been there, I know we are all missing people who are gone.

And in a very basic way the lead up to season two has been a happy place to put my mind, away from my grief,

All the little puzzles and tidbits we've been getting have been a fun game, I have so enjoyed reading the books and watching and listening to things referenced. It has been very soothing to play in a created world, where things have meaning and intentionality, and a message about love.

So thank you and Terry and everyone for creating and insisting on telling this story and being so generous with the fan community. I hope you and yours are well and you are finding joy and love yourself.

Cheers, Elizabeth

That makes me so happy. Thank you. I'm glad it helps.

[utilitycaster]

(Long ask warning)

Hello! I'm jumping on the appreciation train to say thank you so much for all of your meta and analysis! I just found your blog today, and you've already given me so much clarity and context for things I've been noticing in the CR fandom lately.

I quite literally spent my summer living under a rock (in the woods leading spelunking for scouts!) and so was completely out of the loop from early June through September. And while I am not yet caught up (I'm about to start ep. 65), I have been going through the tags and ao3, because I primarily engage with fandom through fic and I don't care about spoilers. And I can't help but notice that everything being written for c3 lately is just... monochromatic. The Hells have such interesting characters and premises. One would think they're ripe for creative and interesting fic. And yet even what little gen fic that I have seen since returning to civilization has largely been boiled down to reiterative mush with vaguely shippy overtones. I can totally see this being indicative of the cresting and waning of the Imodna and Callowmore shipping you've been discussing.

I've gotta ask though, is it really just shipping that is causing this problem? Or is there something else in the source material that you think could be affecting fic in particular?

This is the first time I've been in a fandom with ongoing source material in over a decade. I'm used to watching people beat dead horses in their own little corner, safe in the knowledge that I can block them and it isn't going to affect my experience in the slightest. I guess I'm just having a hard time believing/remembering that shipping can be this incidious.

So a couple of things: first, I was not heavily involved in fandom until Critical Role; I have a decent amount of background knowledge from being on Tumblr and because I do tend to look into/research this kind of thing because it's very interesting to me, but you will probably have better snapshot of what fandom looked like 10 years ago than I do. Second, fanfic has always been a tiny aspect of what I've engaged with and I do find the bulk of it to be dull and samey (which is why it is a tiny aspect), so again, you probably are a better judge of the quality of fanfic elsewhere.

With that said, as part of a much larger discussion of which I only have as mentioned pieces of the puzzle, I do think there's been a shift over the past decade or so of like...people expecting the source material to reflect fanfic-y desires, and resenting it when it does not; people not seeing the point in enjoying non-canon ships; and a broader theme of self-infantilization. This has to a small extent spilled over into published fiction, though thankfully there's plenty that isn't that. It's not just shipping (though that absolutely can be insidious to the point that people have been harassed and doxxed over it); I think it's a general taste for pablum that has been growing within fandom spaces.

I'll link a few posts I've made and a source that, while I cannot vouch for it per se I did read and found enlightening at the end but I think a really indicative example as of late was the fandom response to the show Good Omens (spoilers for Good Omens S2 in the next link if you are by any chance avoiding those). Obviously do not do anything obnoxious to the person who wrote this question, but there are a worrying number of people in fandom spaces who believe this unironically and uncritically: fiction exists to "save us from hurtful reality." And I do understand that the tumultuous politics and world events of the past decade are probably a factor; but I mean, have you looked at literature from the first half of the 20th century (or like. the second half, for that matter)? It is, in my opinion, only going to help put our modern world and issues in better context and honestly make you feel better in the long run if you read, say, The Great Gatsby or The Things They Carried instead of burying your head in lower case song lyrics ... (hurt/comfort, fix-it, happy ending, 6k) and like, to be clear, I have written a small portion of lower case song lyric-titled fics myself but most of them aren't terribly happy, and even so, god I'd be horrified if that was all people were reading.

We've seen it across fandom at large with the polls; I have not watched season 2 of Our Flag Means Death in part because I've realized with horror that this mentality has swept, plague-like, through that fandom; people are acting like having a canon queer ship on a small premium cable show in 2022 is world-changing and unprecedented while also kind of ignoring everything that isn't the central ship (including valid criticisms of how this takes a real-world plantation owner and turns him into a goofy fop, how there's precious few female characters and none in the main cast, and how the actually far more groundbreaking nb character is pushed aside in favor of the core M/M ship). Spoilers for Good Omens again (sorry in advance, Good Omens 2 was a realization point for me how deeply and widely this rot has set in in some places and I have a bunch of sources of people being like "guys stories require conflict and tension to be good" in response to the overwrought moaning that the story wasn't unambiguously happy) but this is another author responding to the "the desired endpoint of all fiction is obviously to have your ship living in a small house together in bliss and anything else is torment" mentality.

In addition to shipping another factor is, I think, people overidentifying with characters and as such being reluctant to actually put them through any sort of hardship, however minor. I recently reblogged a post about the origin of the concept "Mary Sue" and it led me to read a bit about its history, because it was in fact created by women. It was a woman in the Star Trek fandom who was sick of spending money to buy fanzines (pre-common home internet, let alone pre-Ao3) only to find the vast majority of the stories to be this "here is my self-insert who is perfect and beautiful and pure and every other character thinks she is the greatest even if that's entire OOC". It was a frustration with the abandonment of the characterizations in the original work. And that's true today - I have read a popular Imogen and Laudna fluff fic to see what the deal was and it stripped out so much of their premises and characterizations it was unrecognizeable as them but for the hair colors and occasional cringeworthy attempts to replicate Southern US dialect - but what was notable is that those people were at least being honest and writing OCs (though to be fair a lot of them were also young white teen girls and the only woman in TOS was black and that was probably also a factor). Now, you get people who cannot tolerate any analysis of characters that is less than flattering because instead of having an OC, they are identifying so strongly with, for example, Imogen or Ashton, that they cannot separate out the real character or understand this is not an attack on them (or, to be blunt, as someone who sees some of my own worse traits in both those characters, a necessary critique). It's not shipping, but it is that same "fiction should only ever be a soft blanket or a flattering mirror, never a dark mirror and certainly never a door" mentality.

I do place a little blame on fanfiction itself; I think having something that is roughly made to order and tells you exactly what it is up front means people start to think that is the only way, and that's why we have people claiming Chipotle is the height of cuisine while making gagging noises at the authentic Mexican restaurant except for fiction. I think fanfiction can be great; it's fun to write and I have read some great pieces. But a lot of it is mush and formulaic and as that Mary Sue history points out, always has been.

So anyway, to Bells Hells: I think past campaigns also had a lot of dull fanfiction; I think the Nein lent themselves more to poorly written angst than poorly written fluff but yeah a lot of that was really samey and bland in its own way. Fanfiction has always been formulaic to a degree but I think we're starting to see the generation of people who really have read more of that than like, books, and sure there are shitty books, but man there's a LOT of shitty fanfiction, and increasingly, I find that shitty published books are bad because they're too much like fanfiction. [If I get the chance today I have a post I want to write about the ignorance of fantasy tropes in the current fandom which I think is also driving some of this and which I alluded to in my post about shipping; like, I feel the almost automatic but oddly thought-free resistance to gods and fate and the 'right' way to respond to a tragic backstory comes from this ignorance; this also is a case in the D20 fandom when they've dipped into sci fi.] Shipping definitely is a factor, and I think again C3 has an influx of fans primarily here to ship in that "my ship must become canon and must 'win' for some arbitrary definition thereof" which is probably why so much of the fanfic sucks, but again, this is a larger self-infantilizing and entitled mentality that goes beyond mere ships.

Further reading (mostly my own posts but not exclusively)

The fandom echo chamber (also Good Omens spoilers in a broad sense), not by me

Some discussion on queerphobia being inserted only as a tool to assist with specific shipping narratives (I think this ties in again to like. people need obstacles to justify why the characters aren't already in their cottage by the sea but once the characters are together they discard these obstacles even if they are systemic and would still exist, which makes for really bad fanfic bc it's clearly poorly plotted and thought out)

Me on why this campaign isn't good for shipping but a lot of the fandom showed up primarily to ship (might be the post that prompted this ask tbf)

Fandom monocropping (not my post)

My treatise on Imogen and Laudna specifically which honestly, even now that they are canon, still largely holds up re: the fandom and a related one about similarly fluff-centric Change is Evil and the highest order of fiction is Two Blorbos In A House With Zero Problems mentality (not by me but I've been part of that discussion)