#how can you not love the antichrist

[beastsovrevelation]

You may have caused the Apocalypse, but I love you still ❤

[magentagalaxies]

one of the absolute funniest moments on scott's tour that i wasn't able to capture on camera (for obvious reasons) was at the meet and greet after the nashville show these two older gay guys mentioned they were reading scott's wikipedia page before the show to find out more to chat about at the meet and greet and like. idk if this is just because i am very familiar with scott's wikipedia page but you could tell that was the extent of their scott knowledge (which is valid not everyone is researching a documentary on the guy)

but then they asked about the poster for the lowest show, which they'd never heard of before their wikipedia reading, specifically this quote:

"The posters—featuring Thompson lying supine on the ground with a big wad of semen dripping down the side of his face—went up around the city on September 10, 2001"

and they were like "wow we'd love to see those posters hahaha" and i immediately jump in like "oh i have that photo on my phone give me like 2 seconds"

to be clear: these guys had not interacted with me or acknowledged my existence the entire conversation. they had their backs to me when they were talking to scott, i did not introduce myself as directing the documentary since i wasn't filming and they didn't ask who i am, etc. but my brain was like "oh someone wants to learn more about scott? my time to shine, let me pull up that folder in my camera roll". even scott was like jfc here they go again.

anyway i barely had to scroll back in my doc research folder so i immediately held out my phone to the guys and showed them this

it's a photo taken days after 9/11 of scott in front of the posters for his show which was supposed to open the following week

so i hold out my phone and explain this thinking like hey i'm being so helpful these guys wanted to see this aspect of scott lore and i gave it to them!! meanwhile these two old guys are like i can't even focus on the poster anymore i am standing next to scott thompson and also WHO THE FUCK IS THIS CHILD AND WHY DID THEY JUST HAVE THIS ON THEIR PHONE?

another one of the funniest tour moments was after meeting up with some gay guys in their 70s who were friends-of-a-friend-of-scott and immediately befriending both of them we were about to leave and i asked for their phone number and scott just rolled his eyes and was like i'll give you his phone number in the car as though he was saying "jfc jessamine this is ridiculous even for you". he never ended up giving me the old guy's number

[futuristictheoristcowboy]

i think its funny that in good omens some 11 year old swearing technically did more in stopping Armageddon successfully than the demon and angel main characters who spent the entire series trying to stop the end of the world. like girl, they didn't even get trialed for saving the earth, they got put on trial for being gay with each other really

[hellhammersbignaturals]

I still follow most of the accounts from my mcyt phase because good Lord the drama over there is insane wdym the lafd beanie las Nevadas club penguin guy violated labor laws

[cowboy-robooty]

got desperate asf for some non-shitty heta fanfiction and said fuck it ill read the gerame fanfic cuz the author did make some good shit before (even tho i know it wont be THAT good since ill need to manually edit in my brain alfred as feliciano instead and make a whole extra unspoken lore to explain why feliciano is so ooc).... BUT LORD. IM CHEWING GLASS. IM CHEWING GLASS SO FUCKING HARD RIGHT NOW. BECAUSE GIRL ITALY EXISTS IN THIS FIC AND OH MY GODDDD I HATE IT HERE I HATE IT LUDWIG STAY AWAY FROM THAT MAN STAY AWAY FROM THAT EVIL DEMENTED VILE MAN AAAAHHAUHWUSUDJJS STAY WITH FELICIA PLEASEEE PLEASEEEEEEEEEEEEEEEEEEE!!!!!!!!! LIKE STRAIGHT UP HE DONT EVEN LIKE ALFRED BRUH AND ALFRED DONT EVEN LIKE HIM. ill admit the set up is good (its like a 1950s au and the reason why i trust this author is a whole nother can of worms that i put in my drafts maybe ill drop it later) BUT I CANT EVEN CARE OR TRY TO CARE ABOUT ALFRED X LUDWIG BC FELICIA IS RIGHT THEREE AND THIS AUTHOR GETS THEIR RELATIONSHIP TOGETHER TOO. SHES LITERALLY LIGHT OF HIS LAIF MAKES HIM HAPPY IS SWEET AND NICE TO HIM TUGS HIM DOWN AND RUBS THEIR NOSES TOGETHER LIKE MOTHERFUCKER THATS TRUE. THAT HAPPENED IN REAL LIFE I SAW IT. SO WHY THE FUCK ARE YOU WRITING THIS INTO A DAMN LUDWIG X ALFRED FANFIC IM CHEWING GLASSSSSS!!!! BC I KNOW FELICIA X LUDWIG WONT HAPPEN I HATE THIS STUPID BAKA LIFE I HATE IT HERE RAAAGJWJSIIEKDODKDKDKXKDKZKKS RAGE RAGE RAGE

so far its a genuinely good fic tho with some nice character development and being able to take a "real life universe" spin on heta characters which i find can rarely be done well! id rec it to any ameger fanheads out there!

peace and pascal! <- (im sorry im lying. im lying. tw lies. no peace only pascal. sorry i lied on main. its a good fic thats true. but i want the earth to explode. feels like im shoving my dick in an anthill)

[weirdly-specific-but-ok]

for whom good omens is being written

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

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

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

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

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

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

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

And, finally, this paragraph:

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

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

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

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

[artemysfoulfandomposting]

as someone who has been shouting about feminism since middle school, it is absolutely perplexing why people want to separate the people who are standing for a cause and the people with the power for change. like; it doesnt make sense to tell people men arent needed in feminism because feminism is for womens rights- but WHO has the power? certainly not the women who are mistreated and ignored and degraded as being lesser.

if you separate the oppressed from people who have power to influence and support them: you are doing harm by making it easier to disregard them. the cishet men who disregard womens voices need other cishet men to tell them what they are doing is wrong and how to change that. feminism is for the EQUALITY OF THE SEXES it is not for the separation and annexation of the sexes.

i am a disabled queer who gets things done in my workplace and community and has changes arranged by knowing just whos ear to bend about just what- and often times i know what situation can be changed by reaching out to women, or if i need to ask a man who to speak on my behalf because the person above me has a person above them who could either disregard the request as a “useless womens thing as comparable to them complaining the ac is turned on too high” or as a “this is a change that would benefit everyone in this department, as told by someone not as flaky” if feminism was seen as a neutral human right rather than a divided “club” there would be more people with the power to change things on our side who would be willing to listen to all our voices and really make a marked change in the world as we know it

You don’t belong in feminist spaces because you’re a man I hope this helps <3

this might blow ur mind but i think even cishet men belong in feminist spaces bc they’re the target audience.

[inafever]

On how much Aziraphale has learned since season one:

This is about character development. Inside of a story, everything that happens, happens for a reason. It's meant to tell you something, to teach you or the character of your story, something.

So if the story continues and your character repeats the same mistakes again you know that they are bound to be doomed this time, and even worse the audience is going to certainly lose respect for them, cause they have made the same mistake twice, they haven't learned anything, they're gonna do it again another time, they don't deserve a happy ending. (yes I'm talking about good omens here) So you don't do that to a character that matters to you and you respect even the tiniest bit.

A Lot of us here are thinking that this is what has happened to Aziraphale's character at the end of season two, that he has done it again, repeated the same mistake again and has left Crowley to join heaven and it's been because of reasons like wanting to change Crowley (not true, see this post), still believing in heaven's goodness (not true at all), not being on the same page with Crowley (I'm gonna talk about this one especially in this post) and such likes. But these are the things he should've known better about after 6000 years and all the events that we've learnt about especially throughout season two. (It seems to be rather the whole point doesn't it?)

But we all seem to rather believe that he's made that mistake again nonetheless. so what we're doing here is trying to find reasons to justify the mistake and somehow make the reason behind the wrong actions something relatable to ourselves so we can forgive him when the time comes.

In fact I don't believe that he's made a mistake. for Aziraphale's character to be redeemable, what he has done, must be the only option that he's had for saving them both. I don't care what kind of situation could have resulted in him making this decision, but the only reason, the one and only reason, must be his love for Crowley. Otherwise it'll prove that he hasn't learnt his lessons or doesn't love Crowley enough to make a compromise, and in both cases, he's not worthy of love. He won't earn his happy ending by being tortured and feeling sorry and doing the apology dance for Crowley if he's hurt Crowley out of selfishness and stupidity again

But I'm sure he'll earn his happy ending and I'm sure he's learnt his lessons and it's too late for him to have unlearned them all in a matter of a few seconds. (He is an idiot but he's not stupid) and it's mostly because of this, that I believe the reason why he made that decision, must be very different from what it appears to be on the surface.

Anyway, this post is about what Aziraphale has learned and how he's changed.

I have made a post about their moments of conflict from both season one and two, it's here and you can look it up. This is where you begin to understand how Aziraphale has changed since season one because these are his dialogues after he's had a fight with Crowley in the bandstand, season one:

"even if I did know where the antichrist was I wouldn't tell you we're on opposite sides"

"friends? We're not friends. We are an angel and a demon. We have nothing whatsoever in common. I don't even like you"

"there is no our side Crowley. Not anymore. It's over"

And then there's season two, when they disagree on what to do with Gabriel, Aziraphale is the one to point out that they both rely on the life they've built together

He's asking him to help him take care of Gabriel together and in response Crowley leaves

In the final scene he asks Crowley to come back to heaven

"work with me" "We can be together as Angels, Doing good" "I need you."

He says anything he can think of literally to convince him to stay with him and it doesn't work

We start from "we're not friends" and arrive at "work with me. we can be together"

Even if we don't know the reason why he's insisting on taking Crowley back to heaven with him, this is an Angel that has picked up the pace. That wants them to be an us. No matter what.

But these are only a few dialogues. I think there's more than that. I think the show in five and a half episodes (out of six) has tried its hardest to make the point quite clear about how Aziraphale feels about Crowley (or how strongly he feels those emotions). all through the way he looks at him and through his gestures and soft touches from time to time

I'm gonna make another post of those moments separately and I'm gonna link it to this when I do.

update: (here's the post. not just average moments of Aziraphale looking cute, it's something about the way he looks at him)

And I'd like to even compare those wishful glances to some of those from season one, but I can't, cause they are nonexistent in there.

[amuseoffyre]

I’m emotionally ruined by the fact that Aziraphale hasn’t broken out of his heavenly conditioning. He still loves doing good. He gets happy when people tell him he’s an angel and says “it’s nice to tell people about the good things you’ve done now that I’m not reporting to Heaven”. He will literally put himself in harm’s way to make sure he does the Good and Right thing.

It can’t be understated how much Heaven’s influence still impacts on him. Aziraphale has been created, ordained and conditioned to believe it and he can’t just switch it off or walk away. Crowley didn’t get the choice. He was Fallen. He was kicked out and - as per the rules of toxic and terrifying cults - Aziraphale was always told for centuries and millennia, Falling was the worst thing that could happen. If you’re bad, you’ll be forced out. If you’re bad, you’re not one of Us. You’re one of Them.

When he did something he perceived as Right (ie. saving innocent children from death), but knew it wasn’t what Heaven intended, he broke down. Crowley found him a crying, shaking wreck afterwards because he was so convinced he was Evil. He was so convinced he was going to be dragged to Hell and that he was now a demon because he did one thing that saved some children but because it wasn’t a specific directive, it was Bad.

It shapes so much about him and it’s why the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it. He’s happy and excited and he’s doing his human-life things and having a lovely time, but he’s also constantly stressed because of the Need To Do Good. From the moment Gabriel turns up, he’s a nervous wreck and is trying to hide it by Doing Good, by Solving the Problem, by Fixing Things, by being so active and reactive rather than letting himself think about it. It’s a sign of exactly how frantic he is that he starts giving away his books and letting humans touch them.

Watch his face when the Archangels show up unexpectedly: that isn’t joy. That’s blind terror. He’s so afraid of doing the wrong thing in Heaven’s eyes, even though he made the active choice to do so because it was the Right thing to do. He’s a Guardian and he will protect, but he is so very afraid of the repercussions, even now. 

At the end of S1, Crowley said “they’re gearing up for the big one” so Aziraphale’s not oblivious. He knows a big one is coming. He knows something worse than the Antichrist will be on its way. And he’s trying so hard to pretend that everything is normal and fine and if he ignores all the looming bad stuff, it won’t happen. If we don’t say anything about it, nothing has to change.

But then the changes come knocking at his door holding a box and the choice is gone. He can keep trying to blinker himself to it, but then there are angels and demons in the bookshop and he’s had to use his halo and everything is falling apart.

So when he realises that he can get himself into a position where he can guarantee those repercussions won’t happen to Crowley? He will absolutely take it. He says himself “I don’t want to go back to Heaven”, but the instant the Metatron offers him a free pass for Crowley, to take Crowley out of both Heaven and Hell’s sightlines, to keep him safe (Another bee inside the hive, if you will), no wonder he grabs it with both hands.

The tragedy is that Crowley thinks that when they saved the world together, that was the end of Heaven’s influence in Aziraphale. When he was cast out the split between him and Heaven was sharp and clean. He doesn’t - he can’t - understand how deeply it has tangled around Aziraphale. It’s built into Aziraphale’s entire being and unravelling it isn’t that simple. Aziraphale’s trauma is a horrible, terrible Gordian knot and Crowley can’t understand that he couldn’t simply cut through it, because that’s just not how Aziraphale works.

[ineffable-suffering]

The meaning of "I forgive you"

Alright, hello again, I involuntarily dipped for a bit because real life outside of this lovely Tumblr Good Omens bubble got a little bit stressful, but! I'm back for a quick little post to say that I'm currently reading the script book for Season 1 and seeing this line again, spelled out on paper, just shone some more light on the whole „I forgive you“-scene of Season 2 for me again.

Because really, this first time Az says it to Crowley in front of the bookshop tells us exactly what the second time during the Final Fifteen means.

Aziraphale is not forgiving Crowley for kissing him. Or for using this moment to confess and make things explicit between them.

No, Aziraphale is forgiving Crowley for not trusting and believing (in) him.

Let's shove the Final Fifteen to the side for a second and look at this scene from Season 1 under the cut.

The situation at hand: The World is ending, with utmost certainty. In addition, Crowley is absolutely f*cked and Hell is out to get him. He tries to apologise for their Bandstand fallout and explain the other two things to Az (poorly, but he tries). Because to Crowley, Armageddon is a done deal already. Wherever the actual Antichrist is, he's gonna come into his power and the World will be wiped out for Heaven and Hell to wage their war on. Also, Hastur is coming to kick his demon ass. Time to dip!

And yet, Aziraphale doesn't want to come with him. He is adamant that he will be able to reach the Almighty, talk to Her and turn this around. Because if Aziraphale, Guardian of the Eastern Gate, thinks there's even the slightest, tiniest morsel of a chance that he can turn things around the right way, he will do it. Even if it sounds ridiculous. Even if it's a lost cause to everyone else. Even if all the other angels gang up on him and (literally) beat him up.

Even if Crowley calls him stupid.

Aziraphale decides not to be offended by this.

Because this is what he does. This is what a Guardian does. He stays and protects to ward off the intrusion, until the very last second.

Now listen, I'm the last person to blame Crowley for intrinsically wanting to choose Flight over Fight in this very situation, because Lord knows (literally) what happened to him back when he chose Fight and lost.

But at the same time we have to keep in mind that despite his last name, Aziraphale never Fell. He never made the horrible experience of being chucked away by the one who made you to love Her because you chose to question her ways. And yes, in so many ways this choice of his, to still believe that he can change something by questioning and suggesting (both here and in S2), is utterly maddening and hurtful to Crowley. Because it's a mirror of what Crowley himself did and a reminder of just how big the price he had to pay was. Aziraphale seemingly not realizing or understanding this stings. It does.

And yet.

Yet Aziraphale's choice to not take no for an answer, to not let a punch to the gut derail him from his plan, to not let even the most definitive thing such as Armageddon keep him from fighting back, is the one thing that ends up saving the World.

Because even when it all seems impossible and completely hopeless and bloody Satan himself is erupting from the pits of Hell, ...

... Aziraphale picks up his sword and fights back.

And he wins.

Not without help, of course. But might I remind you of what got Crowley to cooperate and not simply surrender like he'd almost done that second?

You might not see it at first, but tucked in between all the posh hedonism, hidden away underneath that tightly buttoned waistcoat of his, Aziraphale is a fighter. And a good one at that. I mean, for Someone's sake, he got discorporated, beamed himself down back to Earth, found Crowley somehow, possessed a psychic prostitute (love you, Madame Tracy), rode a scooter all the way to Taddfield and fought off Lucifer with sheer willpower (and a bit of emotional coercion).

Aziraphale can fight. Smart and hard. And not only that: He can win, too. And he knows it. Because he believes, truly, firmly and wholly, that he can make things right. It's the only thing he will settle for. This, ladies and gents, this is how he ends up saving the World, together with Crowley, Adam and the rest.

Because he didn't accept no as an answer. He didn't look at the impossible and accept it as such. Even when Crowley thought him to be an idiot for trying and even after his initial attempt at talking to God had failed, Aziraphale still found a way to stop The Big Bad Thing from happening.

Which is exactly what his plan is when he ends up being forced to come back to Heaven by the Metatron. (If you still believe this was a voluntary choice, read here). And which is exactly why he is so hurt and still ends up forgiving Crowley for the fact that Crowley doesn't end up coming with him. Doesn't end up understanding, trusting and believing (in) him, just like all the way back at the end of the World in Season 1.

Aziraphale decides not to be offended by this.

[zeroducks-2]

What's up with batman and the erasing of queer history? Sry I try to interact with fanon as little as possible

There is no simple or short answer to this but to try and not make it a wall of text - Batman/Robin has always been a staple of the queer community, so much so that to this day there are "brudick" graffiti in big cities and lots of older gay couples have been using them as a reference for solid partnership which endures in spite of adversity.

Originally there was no indication anywhere that Bruce and Dick were in the roles of father and son, rather they were partners against crime, one the shadow of the other, and they would share everything both when it came to crime fighting and in their everyday lives. They're shown sleeping together, going on lake trips together, finishing each other's sentences and Dick being viciously jealous every time Bruce would "replace" him with any of the women he used to have flings with such as Talia or Selina.

Did DC mean for them to be read as a queer couple? No, of course not. Bob Kane and others wrote a partnership, an unbreakable bond which would allow these two men to overcome any obstacle together, and queer people read into it as queer people always do.

Someone else read into it though: Frederick Wertham, who called Batman a pederast and used Batman and Robin as an example of how the evil comics would corrupt young minds to send them on the way of perdition and sin. He wrote all of this and many more infuriating shit in his book Seduction of the Innocents, which was then the major influence in creating the Hayes Code, which is the reason why we never had queer characters in comicbooks and movies and anything really for decades (and we're still struggling today).

Wertham and the Hayes Code did not stop the queer community from loving Batman and Robin though, therefore what started happening was the more subtle shift towards Bruce and Dick having a father and son relationship rather than a partnership. You can see this clearly with Jason Todd for the first time: Bruce takes Jason in and treats him as his own son, the narrative calls them father and son, and there is no doubt in the mind of who's reading that Bruce perceives Jason as his child. It all went steadily downhill from there.

Nowadays, writers have Dick say character assassinating things like "I love you dad" to Bruce, Tim saying "we will save our dad" to Damian, and everyone in the fandom acting like this has always been the case and actually you're weird and you should be sent death threats for shipping Brudick, because "UMMM that is literally his son?!??!?!?". DC has been pushing the idea that these folks are a nuclear family for a while now, but whoever has actually read the comics knows it's not the case, and it used to be very different before.

Brudick, among queer people, used to be entirely uncontroversial. While Wertham raged about how it corrupted the minds of young men and the Hayes Code prevented queerness to be anything but vaguely hinted and coded in the text, queer folks didn't care and kept having matching Batman and Robin shirts.

Today queer people will call you a pedophile and a groomer and try to doxx you for posting Brudick art because apparently they're doing the fascists' job for them, either because they are genuinely misguided or because they think that if they're enough morally pure they will have a spot among the chosen ones, hell if I know. What I know is that they'd suck Wertham's cock and balls if he wrote Seduction of the Innocents today, and it's DC's fault too with their erasure of every found family dynamic among the batclan, and the way they've been pushing the idea of a "batfamily" instead, in which everyone has a strict role of son or brother or father, and shipping them makes you the antichrist.

[regainingparadise]

Relistening to TMA Season 5, I am again struck by how goddam badly Martin and Jon need couples counseling.

I love them both. I ship them very much. But oh lord they have issues

Like, these are two individuals who, under the very best of circumstances, would really need therapy both individually and together. They are both people with plentiful quantities of relational trauma from childhood that neither of them have worked through even the slightest bit.

And then you throw them into the apocalypse. And you add a metric fuck ton of guilt, helplessness, and the dynamics of being "The Antichrist and +1"?

On a surface level--Jon is in a perpetual state of information overload. Martin is in a perpetual state of "can you please just explain the basics of what's' going on in a given situation and not just say "it's complicated" or launch into a gruesome monologue"

But on a deeper level, their childhood relational traumas have left them each with opposing avoidant tendencies: Jon is unwilling to broach a difficult conversation, which leads him to hide information until he's confronted. Martin, on the other hand, has a finely honed ability to ignore information that he doesn't like until he no longer can hide from it.

Biggest example of their avoidance tendencies: Martin's Domain

Way early on, when we barely understand any of how the hellscape works, Jon mentions it, Martin shuts it down hard and deflects quickly with a bid for affection from Jon

Martin is in deliberate denial, but Jon admittedly wasn't particularly clear to start with.

"We all have a domain."

Jon means it, presumably, as "Me, You, and other 'Avatars.'" Jon is used to being grouped with those empowered by the Entities. Martin isn't. (see also: MAG185: Martin" Is that how these creatures see us now? As one of them?") But that's not what Jon says. And this is MAG167--they've only been through four domains, at least that we've seen. Jon is speaking from a place of knowledge, and assuming his listener has that same knowledge.

And when this issue comes up much later in MAG183, Martin has spent 17 episodes ignoring or forgetting that he has a domain, not letting that information in so that he has never processed it. (See also: Mag170: "Sometimes I wonder if I forget things on purpose. Easier not to think about them, I guess. Easier to just let them… slip away. They can’t hurt you if you don’t think about them.").

Martin confronts Jon on his avoidance (because while Martin may be good at ignoring things he doesn't like, he's far better at bringing up challenging topics), Jon is able to manage some A+ communication on his feelings and the genuine challenging of figuring out how to share upsetting information when he has All The Information, Martin accepts that. I just desperately want a therapist to be there and make them continue this conversation and practice ongoing good communication skills!

Though they resolve this, even though Jon has an explanation that makes sense...he was really leaving this conversation to the last minute. Would he have "[brought] it up at the crossroads" as he claims to Helen? Or would he have avoided it entirely, as she accuses, or waited till they were at the threshold, as he does with The Desolation and the Hunt, leaving Martin to confront terrifying situations without forewarning or planning or explanation.

Again, Jon kind of tried to bring up some of the potential issues with Basira and Daisy before entering the Hunt domain, but kept it Vague and Ominous ("Things aren't...good"). Martin took that vagueness as an opening to avoid engaging with potential bad news. The teensiest bit of therapy for either of them about their communication issues could have let Jon add "I know you're exited but FYI here are some specifics that you should know" and/or Martin go "I'm excited to see them but given that nothing is good right now, can you be more specific?"

Instead, Jon approaches difficult conversations by being Vague and Ominous, Martin gets snarky or passive-aggressive at the vagueness, upset or aggressively avoidant at the Ominousness, Jon closes back up like a turtle into his shell, and the conversation only comes back up when the situation has drastically escalated, leaving them both more upset.

Jon wants Martin to trust him, because explaining what he knows implicitly is an ordeal for him, and because his upbringing by his grandmother has suggested that communicating is generally unwanted and burdensome (See: MAG081 A Guest for Mr. Spider).

Martin wants to know what is going on, because he's in an awful hellscape of shifting rules about what can and cannot hurt them, completely dependent on a brand-new romantic partner for his survival and purpose, and also because his upbringing and coping mechanisms as a caretaker rely on him knowing enough to help, and his time as an archival assistant has given him some not-inconsiderable trauma about being left in the dark (See: MAG118 The Masquerade) (There's also another post in my head about how MAG118 primed Martin for both the Lonely and his development as a more confrontational character in S5)

All that to say.

Martin needs therapy to deal with the way he chooses not to absorb information he doesn't like. Jon needs therapy to understand that sometimes it's ok to bring up important topics even if the other person will be upset. They both need therapy to cope with all the guilt and helplessness around the apocalypse so they stop taking it out on each other. They need therapy together to learn how to work through their conflicting coping mechanisms.

[fuckyeahgoodomens]

The Radio Times magazine from the 29 July-04 August 2023 :)

THE SECOND COMING

How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?

For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.

This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.

Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.

Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).

It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.

A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.

There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.

In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.

"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."

Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.

Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."

He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.

And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.

After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."

While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS

DIVINE DUO

An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise

Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."

Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.

It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."

Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.

Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?

David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!

Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.

There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.

David: Nothing's explicit.

Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.

There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?

David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.

Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?

Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.

David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?

David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.

Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!

David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"

How do you feel about your US peers going on strike?

David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.

Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible

Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?

David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!

Michael: I don't think we were thinking beyond three, were we?

So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?

David: Oh, never say never, will we?

Michael: And it's more Hinge and Bracket.

David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN

[mochinomnoms]

I love all your stuff, it fuels my Octatrio brain rot!

After reading your post on the Azul explaining that marriage contract post, I couldn't help but think of how the tweels would react to seeing people tease yuu about their "engagement" (I'm sure octavinelle students complained to their friends I the other dorm about the very loud mating happening) and some who don't believe it and are stupid enough to flirt with/bully Yuu.

Like Ace would tease them and say "should we call you Mx. Leech from now on?~" while Deuce is "WHAT ARE YOU THINKING?! BLINK TWICE IF THIS IS AGAINST YOUR WILL" and Grim wondering how they can use this to get more tuna

Meanwhile an idiot from Savannahclaw or Diasmonia approaches you and says something like "So your whoring yourself out to non-humans? When's my turn with the magicless bi-" then his body is found at the bottom of a lake somewhere the next day.

Thank you for being a place for us octasimps to gather and spill our thoughts!

(yessss octasimps take residence with meeeee~)

Oh, word gets around soooo quick, no matter how much the twins scare the dorm, Octavinelle students like to gossip. Besides, it's not like the tweels care, they want everyone to know that you're taken! Must be a merfolk thing, because you're trying to hide from the embarrassment of being known as the one who fucked not one, but both Leech twins.

You spend the entire first period ignoring Ace's jests and prodding, while Deuce continuously checked in. He wasn't convinced that you weren't swindled into a contract, please help calm him down, he looks like he's going to cry. Grim is actually disgusted, until he receives a platter of fancy tuna at lunch from an “anonymous” benefactor. Now he's down for anything as long as Jade and Floyd provide him with the most decedent seafood.

You eventually have to run an errand for Crowley during your study period, so you leave Grim with Jack to run it faster without the familiar's interruptions. That's when the scenario above happens:

You're cornered in a hallway by a small group of students, one from each dorm minus Octavinelle. They may gossip, but they certainly know better than the others. The group is jeering and whistling, a Scarabia and Diasomnia student reaching to pinch at your arms and thighs, while a Pomefiore cat beastman croons.

“Aw what's wrong? I thought you liked nonhumans? Huh, no? Well, then maybe you shouldn't have been such a whore for merman dick!”

A few more hands move to grab and push you, intending to take out their long festering anger with the twins on you instead. Intended is the key word here; two towering shadows cover you and the group when two pairs of hands reach for the group leader, the cat from Pomefiore. He screamed before being cut off by a crunch, collapsing on the ground as he groaned and clutched his ribs.

Floyd terrifying when angry, but it's not an unfamiliar sight. But Jade's always had a polite, soft expression. So seeing him with a blank face, but fury filled eyes was like looking into the eyes of the devil himself. Combined that with each other, the twins were like the antichrist given form in the shape of 6'2” sharped tooth mermen. Your mates made quick work of the group, growling insults and promising them that they're being much more merciful than they deserved.

After the whole ordeal, you find yourself being accompanied by Floyd draping his arm around your shoulders as you finish your task. Jade walked off, letting you know that he needed to make sure he reported back the students' behavior to their housewardens. Omitting their latest “scuffle” of course. They should consider themselves lucky that they only walked away with bruised ribs, black eyes, and only one hand and nose were broken! They really went easy!

Everyone knows not to mess with you after that. Everyone should know how protective nonhumans get over their humans, especially moray eels. The sharp teeth aren't for show, you know.

[kadentherabbit]

Tate Langdon NSFW Alphabet,

(A/N! This is my first written smut!!! I haven’t yet finished Murder House and I have really bad focus on tv shows so I really hope this is good enough! The divider (flowers and leaves is from @/mietteone) I’ll try and make this without any gender talk!)

A= Aftercare (what they’re like after the act)

He’s very cuddly after a round of sex, even clingier if the two of you go for longer than a round. He can’t find himself letting go of you at all. He’ll probably fall asleep first btw.

Yet some days he’s not as happy has the others, he’ll distance himself from you after sex for a few minutes, lay by himself and stare at the wall before he finally cuddles up to you, only if he can be the little spoon though. Maybe he’ll start venting or crying, but most the time it ends in cuddles and cockwarming if he’s upset.

B= Body part (favorite body part themself and their lover)

He definitely prefers his hands or his mouth, Tate likes holding onto you while fucking, even if it’s not during sex he loves holding you. Running his hand up and down your thigh or gently grazing your neck and the hickeys he left the night before.

His mouth because well, he can give you all the hickeys and kisses in the world! Marking you is his favorite past time, Tate trails kisses down from your chin all the way to between your legs where he can give you the most sloppy oral ever.

Tate can’t pick and choose parts of your body, all of it is the most perfect thing he’s ever seen. But he prefers your face, the way you express your love and watching you talk or whimper under him is the best! Really likes your hair aswell, he can tug and play with it all he wants.

C= Cum (anything that has to do with it)

Inside. He doesn’t care about anything….all he wants is to just stay inside of you a little bit longer…. Talks about breeding you even if he wouldn’t consider a baby at all. (Unless it’s the antichrists :3)

He supposes that he’ll come on your stomach, second favorite place ever, pulling out and letting it spill all over your smooth skin. It gets him going for a second round.

D= Dirty secret (Pretty self explanatory)

First day you moved in, he was already stalking you, watching everything you did even if it was in a sexual way, he also took a habit of stealing your underwear and shirts…just so he could feel closer to you.

E= Experience (do they know what they’re doing)

Not really, no, he didn’t have much of a sex life when he was alive. All he really had was porn and his imagination.

F= Favorite position

Simple missionary is the best, he can watch your face contort into all the different little emotions you have to show while you whimper out his name and beg him to go faster. It’s also super easy to kiss you when you’re facing him.

Back shots when he’s angry, shoving you into the mattress and almost growling into your ear, it’s crazy how fast he can go from loving and caring to nearly suffocating you in the pillows. He’s still gonna leave marks all over your back.

G= Goofy (how serious are they)

Tate likes to crack a few jokes, jokes about being dead stuff like “ever been fucked this good by a ghost?”. Little comments like that or a knock knock joke if he’s really in a good mood.

Yet, like I’ve stated before, when he’s upset, he doesn’t crack jokes, he barely even talks unless he’s telling you how good you’re doing.

H= Hair (grooming habits)

He’s always been a smooth person, he likes shaving, it’s uncomfortable with hair in places like that. Occasionally he’ll have a bit of a carpet but it’s never more than a little chunk of it.

I= Intimacy (in the moment romantic or dirty)

He tries to be romantic, maybe some flower petals scattered along the halls to your bedroom. Or a lit candle sitting on your bedside table, you have no idea where it came from btw.

He praises a lot, telling you how good you’re doing and how pretty you are. He needs to make sure you understand how much he loves you.

J= Jack off (do they masturbate and how often)

Before he met you (well before he actually started talking to you) he was a compulsive masturbater. Any moment he was stressed or when he could catch a glimpse of you changing, he had his jeans down to his knees in a second.

Yet now that you two are dating, he doesn’t jerk it as much, only when you’re at school and can’t find himself waiting for longer than an hour. He knows you’re always up for a round or two if he needs some help.

K= Kink (well, kinks!)

Choking, Praise, occasional degration, (definitely a mommy kink. He also really wants to fuck you in the latex suit.)

He likes to be choked more than choking you. Scared that he’ll possibly hurt you or even kill you if he in a bad mood. So he prefers being chocked when he’s on the bottom.

Praise goes both ways, if you praise him, he’ll cum immediately after whimpering and begging for “momma’s help”. Tate loves praising you, I’ve stated before that he needs to make sure you understand how pretty you are.

Degrades you when in a bad mood, calling you a whore, slut, etc. Sometimes he goes a little far, and he’ll make up for it with the best cuddles and aftercare ever.

Mommy kink, Only really when he’s on the bottom or in an upset mood. With how much of a bad experience he has with his mom, he finds a tiny bit of comfort in calling you his momma in bed.

L= Location (where they like to get it on)

the bed is always a number one place. It’s comfortable and easy for cuddles right after the deed has been done.

Occasionally, he’ll fuck you over a kitchen counter if your family isn’t home, These are typically the days he’s not in a good enough mood to wait.

Infront of a mirror. Pretty self explanatory but he doesn’t do it often, sometimes he really really needs a confidence fix so he fucks you infront of the mirror and degrades the hell out of you.

M= Motivation (things that makes them tick/turn ons)

Just you in general gives him the worst hard on imaginable. But if you’re wearing shorts or a skirt, he really can’t keep his hands off of you.

Making out and giving him hickeys will also make him horny. He enjoys all the kisses and sloppiness of pre-sex kissing.

N= No (turnoffs or absolutely won’t do)

Refuses to ever share you, nothing like threesomes or cucking or letting someone else watch. He gets jealous really quick, he needs you all to himself.

Bodily fluids that aren’t blood/spit/cum. It’s gross, Tate gets disgusted at the mention of it.

Not a huge fan of role plays. Can’t really elaborate on this one but he likes being Tate and you being….well you.

O= Oral (receiving or giving and how skillful they are)

Really good at giving you head, it’s surprising since he never had much experience but he finds himself giving really sloppy and really amazing head.

Loves when you suck him off, he’ll act like he hates it and that he’s some tough guy but the moment your lips wrap around his dick. He’s whimpering and moaning and begging for more, he’s very loud.

P= Pace (how fast they are and how long they last in bed)

I explain this a bit more in Q. But normally he prefers slow and sensual sex. Taking all the time he needs to please you and himself, he can normally last well past your orgasm. But for rounds, he can last about 2 and a half before he starts unraveling.

He can get rough, lasting for about 3-4 rounds with the fastest pace ever imaginable, I mean he’s dead, his energy levels are really off the charts. He can last a good 2 hours without cumming but when he does, it’s a lot.

Q= Quickie (do they prefer fast and hard)

Some days, yes, and some days, no. Sometimes he just needs a little relief and a quick round of sex. On those days, he’ll really rock your shit and go right back to wandering around the house and doing his ghostly things.

If he’s upset or really needs you, he prefers to take it slow, being able to have you under him for as long as possible. He only finds himself speeding up if you want him too, but you have to beg him first.

R= Risk (do they like to try new things)

Yeah, definitely into trying some new kinky things. Like if you asked to tie him up or asking to be tied up. He’ll try it, anything to make you happy, oh it’s an added bonus if you unlock some deep secret kink inside of him.

S= Stamina (how many times they can go and how long each round lasts)

typically, Tate can last 2 rounds, he finds himself getting overstimulated too quickly if he goes on for too long and can’t pleasure you anymore.

If it’s one of those days, 3 or 4, he just needs to get all the energy out. He’ll take small breaks in between if you need them but doesn’t find himself taking breaks.

T= Toys (do they use sex toys on themselves or their lover)

He doesn’t like them but he won’t be pissed off if you own a vibrator or dildo. He understands that he’s not always there when you’re in the mood but he can show you how much better he is then those stupid pieces of silicon.

Not much of a toy user, I mean he won’t start complaining if you use a vibrator on him or something to punish him

U= Unfair (do they tease or do they enjoy being teased)

Typically, no, but ifs he’s mad. Yeah, he’ll spend at least an hour teasing you and pushing you to the edge. He’ll fuck you then give you head and repeat the cycle until you’re basically crying.

Tate enjoys being teased more than he’ll admit. At first he’ll laugh it off and say he can handle it like a man, but after about 2 minutes. He’ll be underneath you, crying and begging (just like how teases you!). He can’t really handle what he dishes out, but he really does enjoy it.

V= Volume (are they loud, what sounds, and do they talk)

The first time, he tried to stay quiet, felt embarrassed at how loud he was. He was basically screaming while jerking off so he didn’t want to make a noise while having sex.

Until he let a few moans slip and you loved it. You told him that the more he moaned, the better. So he never really held back unless your family was awake, he’s really loud. Whimpering, moaning and groaning, all the noises that a man could make, Tate can make them.

W= Wild card (random sincannon of any sort)

As I briefly stated in K, Tate really really wants to fuck you in the latex suit. He will never admit unless you say something first but that’s all he really wants.

X= X-ray (what’s down below in dem pants)

6.5 inches when he’s soft and about 7 when he’s painfully hard.

Y= Yearning (sexdrive level)

Pretty high, he gets horny easily and can’t really get rid of his hard ons as easily. It’s a good thing since he knows you’re always up for a quick round or two.

He’s also pretty patient, if you tell him to wait an hour so you can do homework. He’ll wait (after a few minutes of whining and complaining). He can wait but it’s not his favorite.

Z= Zzzz (do they sleep after if so how quickly after)

He tries to stay awake longer than you so he can lull you to sleep or make you feel more comfortable for the last moments of the night but he normally falls asleep first. Especially if it’s been a rough day for him.

[sassasafreeaction]

It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.