#i also think this ties in very well to his opening image of forgiving Maggie's rent

[queerfables]

My two cents on Aziraphale's "I forgive you" is that he was straightforwardly lashing out. He knows how little Crowley wants to be forgiven. He knows because Crowley just told him. Crowley rejects forgiveness so absolutely that he rejects Aziraphale right along with it. It's the whole fight in a microcosm: Aziraphale standing there offering forgiveness and Crowley saying, I don't want it.

So maybe the words are Aziraphale showing he finally understands Crowley. He knows now that "I forgive you" is the very worst thing he could say to Crowley. That's why he says it. That's how he means it.

[catastrfy]

today i saw @lonicera-caprifolium's updated post here: https://www.tumblr.com/reblog/lonicera-caprifolium/738909073634951168/4FZkAi0w and started looking at things sideways again. first this set of the two of them. before he says "i forgive you" aziraphale licks his lips. and to me it doesn't look like it's nervous lip licking. it kinda of looks like he has a tiny secret smile when he does it. and then after he says "i forgive you", crowley very briefly has the tiniest smile??? and i can't help thinking again that they are putting on an EPIC show

then i started looking at the clock sccene. i thought before that azirpahale was blocking the view of the clock too, but those clips made me grab pill bottles and try to figure out perspectives. and i don't think it's actually the clock he's blocking.... i put some rectangles around items i was using to try to track the movements: yellow is the painting on the back wall red is aziraphale's shoulder in reference to the metatron's should/neck/ear orange is the orange pillar blue is the kettle white is aziraphale's hand then i started looking at the clock sccen. i thought before that azirpahale was blocking the view of the clock too, but those clips made me grab pill bottles and try to figure out perspectives. and i don't think it's actually the clock he's blocking.... i put some rectangles around items i was using to try to track themovements: yellow is the painting on the wall red is aziraphale's shoulder in reference to the metatron's should/neck/ear orange is the orange pillar blue is the kettle white is aziraphale's hand purple is what i think he might be blocking in 48:04, the pillar is very visible behind the metatron, and aziraphale might be partially blocking m's view of the clock

then at 48:05 the m'tron is further to the left of the pillar, blocking more of hte painting on the wall, and a has turned to look at something

i can't quite tell if a has moved so far left he's unblocked the clock from metatron or not, but he's gone a good foot to the left, i think.

more movement. aziraphale's even further left. we can clearly see the kettle now. and i'm pretty sure he's no longer blocking m's view of the lcock.

a's moved even further; we can see the clock face fully and his hand is now in front of the bookstand (the white floatingish bits are relfections of light on the tops bits of the bookstand.

then the camera pulls way back. for us, aziraphaleis blocking the clock now, but we can also see the bookstand clearly, which has a single white page (likely over something else). we can also see the kettle, the art on the rear wall, and the pillar, with the m'tron in front of it (relative to us) looking at aziraphale, because the camera (our view) is swung to the left

and to me azirapahle is squarely between the bookstand and the m'tron, but not blocking the m'tron's view of the clock. well then...what's on the bookstand?

something *new* that only appeared while crowley was cleaning up while aziraphale & the metatron were having a chinwag! it's behind him when nina and maggie are there.

(at least i THINK it's new. it might be the same thing as in the 40s, but i can't get a good enough look at that oen) it's not the first book we see open, which is this one, while aziraphale listens to his new records from maggie, ep1

seen again behind him just before the apology dance this book DOES have green borders on the artwork, just like the bible one.

then when they're trying to get jim to remember things, this closed book is on the book stand

and that's a real book, l'art pour tous

which is a real book. with a green binding and green ties!

(from https://www.abebooks.com/LArt-tous-Encyclop%C3%A9die-industriel-d%C3%A9coratif-Art/350288996/bd) but it's more about decorative things, not artwork. but very distinctive! then then there's the book with job & sitis that aziraphale grabs and sets on top of l'art pour tous (you can see its cover behind the job book in the third image and i copied the same bit from anothe rpic to compare. the book with job & sitis doesn't have the green binding nor ribbons visible when it's closed. and i don'tknow if the green would be visible in the l'art pour tous book when it's open. it seems unlikely there the same book when he has so many?

but where is the plain white paper with something on it from? it could be a page of shakespeare he likes (perhaps a love sonnet?) or a speech or anything really. but i'm wondering if it's something crowley likes too, or something related to crowley, and that's why crowley put it there. or a love declaration before the extremely alcoholic breakfast? or something i missed earlier, which is entirely possible and please tell me if you know i did! (it's not there when aziraphale's guests start to arrive; you can see a third page displayed when he asks mrs sandwich what it "is exactly" that her girls do. it doesn't look like either the first book's image nor the images of sitis or gabriel.

i find all of this os FACINATING!

here is some odd stuff that i think may support loni's body swap theory let's start here. nina and maggie confront crowley, and his reaction? "but you were crying"

except it was aziraphale who saw maggie crying. he told crowley she had a "pash" for nina; would he have mentioned the crying? i don't know. but it's ODD.

but there's also this way crowley says "bla bla bla" to nina and maggie -- it's *ridiculously* overdone when compared to when he says it to muriel

and then later when later, the metatron asks crowley if he knows him and says he was a big floating giant head. except when crowley last see the metatron?

when he was in heaven with muriel, in the recording, as one of several enlarged heads on screens.

but somebody else DID see the metatron last as a big floating giant head just a few years ago....

well. ift hey swapped WHEN was it? i LOVE loni's fabulous theory where they posit at "no nightingales but could it have been earlier than that? so i've watched and watched and watched the last episode, and i'm thinking maybe it was when gabriel was having his flashbacks.

i am pretty certain the scene before this was them as themselves. here they are before beez gets the fly and gives it to jim. crowley's got his usual mobile face with his forehead creases and expressive mouth... and he talks to beelzebub the way he had earlier (vs how aziraphale had when he was facing hell in s1e6)

this is the first shot of them after gabriel's flashbacks conclude. look at crowley's face.

it stays blank for the time that gabriel recognises aziraphale, sees the angels, says "eesh" at the demons, brightens when he sees beez, and when beez tells him aziraphale took better care of him than they could've done.

we've seen his face with the closed lips and smoother forehead before:

also, this is subtle and it's entirely possible it only means that this scene was shot over multiple days, but check out the right edge (viewer's right, a's left) of aziraphale's bowtie in each picture here. he's been standing fairly still, yet his tie isn't tied quite the same before the fly and after. you can see an extra stripe at the far right edge in the pic that says "true love" the collar of his jacket has moved; more of the left (our left) side of his waistcoat is visible in the 2nd pic. and again, yes, this absolutely could be different takes, probably not immediately after one another if the bowtie had to be retied. except... didn't they use pre-tied bowties this time around? is this an "everything is meant"???

i had to look at crowley too, of course. pre-fly, immediate post fly, starting to look normal, then aziraphale gives him a shake and he looks up. there ARE subtle changes. the collar button of his shirt changes position and so does his neck noodle. it's hard to see his tattoo until he's outside (although it's clear before beez gives jim the fly), but that may just be lighting. or maybe it takes a moment to settle in? I DONT KNOW (also, beez keeps looking over at aziraphale & crowley and i want to know WHY/what they see!) and oh, have you noticed that the top of aziraphale's right ear SWIVELS when michael is threatening him with being erased fromthe book of life? it starts at teh end of 33:50 and goes into 33:51. and about 15 frames later, the metatron appears at the door. i don't have a way to make it into a gif, but here's the first and last of his ear moving. it's not him turning his head, because that wisp of hair doesn't move, nor does his lobe. just... the top. o.O

and ooho, just today i noticed THIS: here's aziraphale's bowtie when he's telling crowley about the offer to go to heaven. LOOK AT THE TARTAN ON HIS TIE.

previously looking at the tie as the viewer, the vertical stripe pattern of dark stripes is thin dark line, narrow gap, group of medium/dark/medium lines, widish gap, repeat. here it's med/dark/med lines, narrow gap, thin dark line, wider gap, repeat. the fabric is upside down from earlier. (and yes, again, this could be an error by costuming/continuity. but i'm hoping it means something bc everything is meant) if you haven't read loni's theory, go check it out!

[mothandpidgeon]

Ok but since you are writing a Regency piece...could you imagine having Din Djarin and Marcus Pike fighting over you? Each of them is so different and you can't help it because you're attracted to both of them because Din is the brooding yet kind introverted man that quotes to you poetry and takes you on long boat rides (with someone else of course because he cares about your image) and you're head over heels in love but then Marcus comes along and he's dashing and sweet and a little introverted but mostly talkative whenever he has to be and although he doesn't read to you poetry, he does gush about how none of the Greek and Roman and Etruscan sculptures and Italian works of art come close to your beauty and he takes you on long walks in gardens and even invites you to go to Versailles one time with him and then the three of you run into each other during one of the balls and the two are begging just for a moment with you and you're dancing with no one else but them during the entire night and when you try to go to the garden to get some fresh air, you're bombarded by the two men and they get into a heated argument to the point where they say that they will duel for you but you stop them both because you don't want either of them to get hurt and then...oh my sweet lord...and then, you take each of their hands and kiss their knuckles and fuck you shouldn't be doing this because what if someone sees and your reputation and no no no...but they both grow even more shy and you smile at them and-

"How about you invite us over to your estate Captain Djarin? I'm sure we can all...come to an agreement. Right?"

And the two are so confused but when they look at each other and return their gaze to you, they finally realize what it is you're talking about and they're both appalled by your offer but their shock slowly subsides because they fucking crave you and they nod and you throw each one of them a wink and-

"I'm looking forward to the invitation, good evening gentlemen."

And AHHHHHHHHHHH I DIE!!!!!!!!

Ok, Maggie, you went SO HARD on this one. Phew. You really know how to torment me!!! You are always welcome in my inbox. Considering the tale you wove, I really hope this lives up to it and you’ll have to forgive me I could go on but I was already approaching 1.5k words!!

Also I hope you don’t mind (and apologies to Regency!Din) but the mention of Versailles just screamed late 18th century (an important distinction in my nerd brain) so…

A/N: 18+! This ribbon bit comes from Barry Lyndon so apologies to the ghost of Stanley Kubrick.

It was a shame that Misters Djarin and Pike detested one another so when they had so many similarities. Both of them were kind and sweet and terribly handsome.

Mr. Pike accompanied you to the opera on more than one occasion. In the privacy of your box, he would whisper sweet words into your ear and nudge the soft skin of your neck with his nose. Mr. Djarin was more of an outdoorsman. He took you riding on his estate. When you were far enough on the grounds, he would help you down from the saddle and recite poetry to you beneath a shady tree.

And yet seeing them side by side now in Mr. Djarin’s parlor where you’d just shared a very awkward tea, tension straining the air between them, they couldn’t be more different. Mr. Djarin, so reserved, dark and modest. Mr. Pike, flirtatious and warm, cheek always dimpled with a smile.

You knew it wasn't going to be easy to break the wall between them but you’d been wise enough to plan for it.

“It seems I cannot force an accord between you but I know how men like their sport. I propose a wager. Nothing like a friendly competition to encourage affection,” you said.

Marcus cocked his eyebrow. He had wanted to win you since he’d met you last summer, pursuing you endlessly and yet this other man still stood in his way.

“I wonder which of you is a better hunter,” you said.

“And how would we prove that?” Mr. Pike asked. Din’s brow creased. He didn’t know how hunting had anything to do with your ludacris proposal, the one that they had both scoffed at at the ball. He wouldn’t have agreed to contemplate the thought if he hadn’t been so afraid of losing you.

You rose from your seat and both pairs of brown eyes watched you intently.

“I have devised a test. I’ve hidden a white ribbon somewhere on my person,” you said, trying to bite back your smile. “The better man finds it first.”

Both men looked at you in a stunned silence. Your heart was racing nervously but you were savoring their expressions. Mr. Djarin collected himself first.

“You’ll forgive me for being unfamiliar with the ways in which women amuse themselves but I hardly find such a suggestion to be entertaining,” Mr. Djarin said, his cheeks turning pink.

He couldn’t pretend that the idea of undressing you didn’t make his heart pound but he hated how easily you would give yourself over to Mr. Pike. He disliked the way Pike flirted with you so openly. Of course, he knew some of it was envy— he had never been a charmer.

“I do not speak in jest, sir,” you told him.

“That is what you want?” Mr. Pike asked, his soft eyes already slipping lower. He was already thinking of places to explore.

You watched Mr. Djarin look away from you when he nodded.

“And the better man, does he win something?” Pike asked, enjoying how flustered the other man had become.

“My highest regard,” you answered coyly.

Marcus chuckled.

“Then the lady should get what she wants, don’t you agree?” he asked Mr. Djarin.

Din cleared his throat.

“Very well,” he said.

Pike came to your side and took your hand to escort you to the couch where you sat between him and Mr. Djarin.

“Perhaps you should take the first turn,” you suggested to Mr. Djarin who was looking at you with a mix of fear and yearning in his eye.

He’d been so careful with you, always so cautious not to overstep or do anything at all that might invite scandal save a few soft kisses. And here you were laying yourself out for him. He swallowed dryly and met your eye with a shrug of surrender.

“Is it in your hair?” he asked, eyes darting up to your coiffure.

You smiled at him, nearly reached out to put your hand on his cheek. That protective nature was what drew you to Mr. Djarin in the first place. You knew what he really wanted, you could see it in his eyes, but he was too polite to take what was being offered. Not without convincing.

“I believe this requires a more thorough search, Djarin,” Pike said from over your shoulder.

He cupped your hands and turned them over as in a playful inspection, then lifted both of your arms. “No. Not there.”

You laughed and the noise made his heart jump. He’d found that he would make himself a fool if it put a smile on your face. Marcus was happy to take the opportunity to move in closer, to claim you with his touch. He brushed your neck so gently, his fingers tracing a ljne from your jaw to your shoulder where the bodice of your dress began. Goose pimples broke out on your skin and Marcus put his lips against your earlobe.

“I wonder,” he mused, leaning your back into his chest.

He hooked a finger under the fabric and followed the line down from your shoulder to the swell of your breast and you gasped. He had so often admired the rise and fall of your chest, Marcus couldn’t help but caress your skin with his thumb. Din felt himself stiffen as he listened to the soft moans Pike was drawing from you as he put a kiss on your skin. Watching your lips part, Din was frozen in place.

Marcus moved his hand down the straight front of your bodice and you felt yourself pulsing beneath your skirts.

“Perhaps under here?” he asked.

You allowed him to work the front of your gown open, the silk parting to reveal the creamy ivory stays below. Din felt twin aches in his chest and his groin as he saw the other man slide the bodice off of your shoulders.

Neither had seen you in such a state of undress before. Marcus took a moment to steady himself, admiring the figure below and sliding his hand across your middle. You were hardly naked, still clad in your stays, shift, and skirts but your underthings made his cock twitch.

“Now you see how the game is played and that Mr. Pike has been so far unsuccessful,” you said to Mr. Djarin, your voice more breathless than before. “Would you care to try, Mr. Djarin?”

You encouraged him by bringing your foot to rest beside his knee, leaning back into Mr. Pike. Din licked his lips, staring at the floral pattern on your delicate shoe for what felt like a century. Finally, he gave in to his longing.

He ran his fingers up your ankle over your silk stocking, revealing the smooth line of your leg. His large hands encircled your calf as he inched your skirt up further. You let out a shaking breath, squeezing your thighs together. You could hear Mr. Pike’s jagged breaths in your ear as he watched with anticipation. He had half a mind to release himself from his breeches to relieve the torment building there.

Din was careful not to reveal any of your skin, stopping just above the spot at your knee where your stockings were tied with thick ribbons.

“These are blue,” he said, running his thumb over the bow.

You were looking down at him flushed and breathing heavy and it took everything in his power to stop from taking you then and there.

You leaned to him, putting your lips against his and letting your mouth fall open to invite him in. You heard him whimper and he clutched onto your leg. Then you turned to Mr. Pike who kissed you hungrily, his wide palm kneading at your breasts.

“I’m quite disappointed in the both of you,” you said once you could speak again. Your whole body was thrumming with arousal.

You raised your skirts up around your hips and felt both pairs of eyes lustily watching. There, tied around the thickest part of your thigh was the white ribbon. But they only noticed the slick shining between your thighs.

“We shall call it a draw. But I’m afraid that means you’ll have to share me, gentlemen,” you said.

And from their twin growls, it was clear that they didn’t mind.