#if not another season then 1-3 more episodes

[alevolpe]

Hello! I plan on doing a Sailor Moon rewrite later on next year (bc i have a lot of shit to do in the entirety of my 3rd year of university) and I'd like to know what issues you have with each season of sailor moon. You don't have to name all of them, just name the biggest problem(s) you have with each season!! I hope I am not troubling you :3

Hi! You're no trouble at all! Thank you for asking, I'm humbled you're interested in hearing my opinion.

Ok, let's see. Before I start I wanna say, these are MY opinions based on also how I'm doing my own rewrite AU thingy, so don't take it personally if I don't want to include elements or characters you love. (Most fo the time it doesn't even mean I don't like those characters in canon, I just don't think they'd fit with the specific narrative I have in my mind)

I'll say for Season 1, my biggest issue is the amount of time it takes to get everyone in the cast. By the time we get Mina it's like what, over 3/4ths of the season in? I like that the show takes its time introducing everyone and giving the girls some organic bonding time in the filler, but there's better ways to do it imo. That's why I have Usagi be the last to awaken and meet an already tranformed Ami and Rei, so we don't totally break from Usagi being the center at first. We can use her as a vessel to get to know these new people and this crazy new identity at the same time she does, letting us know more about her too in the process, while not slowing the pace of the story to a crawl. As we get to know more, you can introduce the rest of the girls and break from the main group to catch glimpses of Mako and Mina, to later unite them. But that's my fix, there's other ways to fix the slow introductions, just.. don't maybe go manga style and spend only one ep per girl and immediately move on to the next, give them time to breathe.

My main issue with Season 2 is the time travel. The show does NOT know its own rules and that is a recipe for disaster, once you introduce an ally that is able to time travel, you got a LOT in your hands. Everything in the show could be solved with one travel through time, but they never do. Why? Cause otherwise the show wouldn’t exist. It leaves too many possibilities and questions that is not ready to answer. Idk how one could fix it, I'm sure there's many ways you could, I just have 0 interest in incorporating time travel in sm.

With Season 3 I'd say it's the introduction of the whole Pharaoh 90 or Mistress 9 thing. I don’t know, I know they are the main baddies, but like.. just make Saturn the main threat, she already basically is. That's my problem with it, I'm sure a ton of people disagree, but I'd rather the season just focus more on Saturn, Haruka, Michiru and Pluto, I don't need another "queen Nehellenia" type villain that gets introduced 2 seconds before the end. And I lovee Eudial and Mimete, but we don't need 5 of them. I'd just make those 2 Tomoe's assistants and that's that. Too many villains, especially if you're not going to do a motw format.

With Season 4.. uff where do I even begin. Tbh I scratch the whole season and do a ground up rebuilding project, but if I HAVE to stick with the canon structure I'll say make Nehellenia more present. She's THE BEST part of SuperS, make her more present and more threatening. Give her that mirror power from the get go, make her appear in mirrors, reflections, show her subtly , in the background, give the season a subtle but palpable atmosphere of unease, make her scary. I WANT TO BE SCARED of her! Also unrelated, but get RID of the S*A metaphor with the 3 eyes.

With Stars the whole pacing the season is a mess. The start is way too slow and the end is rushed as fuck. Introduce Galaxia as a present threat earlier, again idk how you'd do that exactly while keeping the episodic tempo of the show, but my solution is. Don't! Lol

[rcmclachlan]

2024 Tumblr Top 10

Tagged by the wonderful @liminalmemories21

How it works: Share your top 10 tumblr posts from last year! Visit this site, scroll down to "Find your Tumblr Top 10," type in your username, and select 2024. When you get the results, simply click "Share to Tumblr" and you'll get an auto-generated draft for a post with links and previews. Make any adjustments you see fit.

Surprising no one, all my top posts in 2024 were about BuckTommy. Here’s the breakdown:

1. Tommy’s just as insane as Buck (1,184 notes - Aug 15 2024)

This is probably my favorite post of the year, so I’m glad it’s sitting pretty at number one. Even after what we’ve learned about Tommy since I posted it, I still stand by it. There is no way Mr. Sure I’ll Fly Into A Hurricane On A Hunch is normal about anything.

2. Amnion (mpreg, 8x06 fix-it) (777 notes - Nov 9 2024)

This predated the mpreg tsunami that hit the fandom by about a week, but if you’ve been following me since April, you’ll know that dadvans and I had been surfing that wave all along. 

3. Season 4 alternate meeting (726 notes - Aug 10 2024)

I’ve got a list as long as my arm of ways Buck and Tommy could’ve met earlier, but the idea of “what if their paths crossed the day Buck learns about Daniel” grabbed onto my ankle like a mutant west highland white terrier and wouldn’t let go. 

It eventually became the fic Histocompatibility on AO3.

4. 8x05 spec fic ("Kiss me, Thomas!”) (704 notes - Oct 23 2024)

I wrote this after the first pictures of Buck’s face dropped a couple of days before the episode aired. At the time, we could only see one boil (I think the most popular theory was that a spider had laid eggs in his face, a la Scary Stories To Tell In The Dark), so I decided to have a little fun. 

Apologies to the people who were scarred for life after learning what a giant weta is. 

5. The 118-217 Shadow Summit headcanon (665 notes - Dec 29 2024)

A very late addition to the list! There I was with all these headcanons, still mourning the breakup and wishing the show had given us some cross-station shenanigans, when I realized I could solve all my problems with fic. Why would I try to get Buck and Tommy back together when the yahoos at the 118 and 217 could do it for me?

Then I took it a step further with this missing scene, which I had an absolute blast writing. These people are bonkers (to me).

6. “So? Tell me about the hot pilot.” (652 notes - Sep 13 2024)

I can never get enough of the Buckley siblings, and since the show finally gave us something substantial with 7x05, I decided to delve a little deeper into Buck and Maddie’s conversation about Buck’s bisexuality and the man responsible for opening his eyes to it. 

It eventually became the fic Table of Contents on AO3.

7. New Year’s Eve fix-it ficlet (651 notes - Jan 1 2025)

Okay, technically it shouldn’t be on the list because I posted it in the new year, but I wrote it a couple of hours before midnight while watching Wicked with friends, so I’m including it. It was a half-baked idea that became a half-baked fic, but it seemed like people enjoyed it, so I’m taking that energy into the new year!

8. More 8x05 spec fic (missing scene) (589 notes - Oct 24 2024)

Another fic that was born out of the episode previews, which allowed me to bring my 217 OCs out to play. All I kept thinking was, ‘What was going through these people’s heads when they heard dispatch say a body had been found at the 118? Probably something along the lines of: must be Tuesday.’ 

9. Pregnancy kink ficlet/headcanon (526 notes - Aug 29 2024)

No explanation necessary. 

10. Relative Value (499 notes - Jun 26 2024)

“Give me Uncle Tommy or give me death” has been my mantra since Tommy and Buck made out in front of God, country, and the entire First Presbyterian ER lobby. Also, it’s a headcanon of mine that all the 118 kids are obsessed with him, much to Tommy’s confusion and amusement. 

It eventually became Relative Value on AO3.

Well, this was a fun little retrospective! I can’t believe this dumb show pushed me out of writer’s block limbo as hard as it did, but I’m very grateful. 

Tagging: @dadvans, @screamlet, @epiphainie, @leashybebes, and @beanarie​​

[red-hood-vigilante]

ok now that i've had some time to think on it, i deeply wish circumstances were different and that the studio had the resources to make a third season bc while i do think s2 fucks i also understand when people say it had pacing issues. act 2 and 3 were dense and had so much going on it was hard to understand and keep up, like gun to my head rn i could not tell you what the arcane is or why it's so scary that they are/it is waking up

[weregonnabecoolbeans]

Okay so I have one episode of the newsreader left to watch and Dale is breaking my heart

[mixtpecas]

Throwing out there an idea for post-canon Dean jobs: physical therapist.

It's hands-on, but not necessarily straight forward. It uses problem solving skills too, plus creativity and pattern-recognition to connect different potential symptoms and treatments. Dean's great at this kind of stuff, and demonstrates it a lot when he hunts.

It requires people skills, and working with lots of different populations with different backgrounds. This is also a skill Dean is great at, but in this case it wouldnt be part of a lie for a case but a way to make genuine connections.

And, it's a way to make a noticeable difference in people's lives - and give people a way to move forward after injuries or accidents. He could help hunters too! It seems cathartic for Dean to be able to still feel like he's doing good for the world (and the hunting community) without having to go on hunts himself. It's not just surviving day-to-day anymore, but learning to live through things to see a future.

[exopelagic]

WHY DID NOBODY TELL ME BURROWS END WASNT FREE

[timetraveladdict]

Episode 3

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Pfff Jaskier, you don't believe it yourself that your relationship with Geralt is only platonic. Stop fooling yourself.

Nice abs btw. Joey Batey you are amazing!

Poor fake Ciri…

Visenna is death? Geralt is crying? His childhood story made me cry 😭

Also, Giancardi and Fabio Sachs. Another scene straight from the books!

Good boy Jaskier, telling Geralt that Redania wants Ciri. And he knows something about Radovid is fishy…

If I was Ciri I would have fled as well. Gods those mages are snobbish and arrogant.

So… Istredd is working for Nilfgaard? Why a, I not surprised?

Remember r last post when I was saying I ship Cahir and Gallatin? Well it sunk before it even started… rip.

Redania is madness but I like it…

Woah the Wild Hunt!!!

I repeat: Henry Cavill deserves an oscar. Liam ah s worth will never master Geralt as he did.

Tomorrow last two episode of volume 1!

[wheucto]

the entirety of BFDI so far is 16:10:39 (hours, minutes, seconds). assuming the average sleep time is 8 hours, then that's a little more than typical waking hours

[arabian-batboy]

Demon Slayer dedicating an entire arc to have half a dozen main characters collectively trying to defeat an Upper Rank Six demon in one of the most hype and epic fights of all time in anime then following that by having one monotone kid casually defeating an Upper Rank Five demon by himself in just one episode by casually slicing his head in underwhelming scene is sure a choice, isn’t it?

[ashenberry]

i have no idea how sam and cat part 2 is gonna b over 10 hours by the way without feeling a little bit bloated as hell

[fortunelowtier]

Ok so i saw a post mentioning how Spindlehorse was hiring animators again, and i thought "huh yknow im really curious what the turnover rate of animators is in this studio" because i mean its a genuine question considering how i swear theyre hiring new animators every other week

So then i checked IMDB...

Before i go on i wanna put some context because its kinda needed for what im about to say:

On IMDB there's a section of the cast and crew page labeled "Series Animation Department". This is the section meant primarily for animators and storyboarders among other jobs in the same vein.

Now. Can you guess how many animators/storyboarders Helluva Boss has gone through in less than 2 seasons?

444.

That is four hundred and forty-four individual credits, a majority of whom didn't stay for any longer than a few episodes. I have never in my life seen an animator turnover rate this skewed.

But i saw this and i went "well it cant be that bad right, what about other shows?" because admittedly i didnt know a lot about animation so for all i knew this was normal. So i went to the IMDB pages of other animated shows

RWBY: 164 credited animators over 9 seasons

Murder Drones: 11 Animators over 7 episodes

The Owl House: 88 Animators over 3 seasons

Amphibia: 73 over 3 seasons

Steven Universe: 44 over 5 seasons

And just to be fair let's include Hazbin Hotel, which had 62 in 1 season

This means that for one reason or another Helluva Boss has gone through more animators in less than 2 seasons than shows that ran for SIGNIFICANTLY longer go through in their entire lifespan by several times and that astounds me

[tobiasdrake]

*deep breath* Okay. Here we go.

I don't think the Netflix Avatar show likes women very much. It's a great show for fans of Aang, Sokka, Zuko, and Iroh specifically. All four of those characters get a ton of great material. In fact, it's super great for Sokka stans, because the show takes him ultra-seriously and can't go five minutes without one character or another (usually a woman) praising him.

But the way it handles its female cast is troublesome.

Katara

So, all three of the main trio got some changes made to their stories. They changed Aang's story so that he wasn't running away from his responsibilities; He was just clearing his head and somehow accidentallied himself into a tsunami. Whoopsy-dooodle. Aang did nothing wrong.

They changed Sokka's story so that him being a leader of his people and a great guardian warrior is treated with complete seriousness. Multiple times, characters stop to talk about how brave and noble Sokka is for taking on such an intense responsibility, and tell him to his face what a great warrior and a wonderful leader he is. Also his misogyny is erased.

And they changed Katara's story so that she directly got her mom killed because she sucks at waterbending.

Katara tries to waterbend to attack the Fire Nation soldier but couldn't manage it, provoking the soldier to start actively searching for her and forcing her mom to fake a waterbending attack and draw his fire. They changed Katara's story so that her bad decision making fucking got her mom killed.

This is treated with the same level of severity as "Sokka was bullied by mean kids and also his dad doesn't think he's good enough to be a leader."

"I hoped Sokka would do better but not everyone is meant to have people's lives in their hands," Sokka's dad says of him.

Yeah, you're right, that's totally comparable to watching your mom get barbecued because you tried to waterbend in a situation you shouldn't have and then failed.

In fact, they give Sokka's greatest trauma more weight because it gets examined again with Yue next episode, while Katara actively getting her mom killed isn't brought up again at all. We get traumatized glimpses of it throughout the season leading up to the reveal, but after this scene in episode 5, it never comes up again.

But to be fair, Katara was a child. An event this significant would surely have motivated her, driving her to become the great waterbender she is now, right?

No! Katara sucks at waterbending and needs men who aren't even waterbenders to teach her how to waterbend. She requires instruction from Aang in episode 1 to learn how to waterbend, then from Jet in episode 3 to learn how to waterbend better.

And unlike the show, her relationship with Aang isn't a give-and-take; Katara doesn't teach Aang a single goddamn thing. He never learns to waterbend. She is a strictly a pupil throughout the whole season. Though she at least gets officially labeled a master in episode 8, so there's that.

In any case, the whole traumatic memory thing isn't even the only time she's directly compared with Sokka. Episodes 3 and 4 see Katara and Sokka bicker over whose morally dubious side character is better. Sokka likes the Mechanist and Katara likes Jet.

Ultimately, Katara is forced to eat crow when Jet turns out to be the worst, while Sokka is vindicated when the Mechanist sees the error of his ways and reforms. But not before two separate arguments where Sokka calls Katara childish and accuses her of acting like a little girl.

Arguments ultimately resolved when Katara apologizes to Sokka for not adequately respecting his very serious and ultra important role as village protector and leader. Gives him a whole speech about how great and glorious he is. And Sokka... appreciates Katara learning to respect him properly, I guess, because he never offers any similar sentiments back to her.

The show just... They need you to know how important Sokka is, okay? It's very important that you respect Sokka.

Suki

Suki suffers tremendously from that whole "Sokka's misogyny was removed" thing. Y'know, because they need something else to do with that episode. The show is deeply aware that Suki is Sokka's love interest, so they just do that right off the bat. Suki falls madly in love with him from the moment they meet, and spends the entire episode making goo-goo eyes and trying to get him to Notice Me Senpai.

They still do the "Suki Trains Sokka" stuff. But Sokka is a serious, dignified manly man worthy of the deepest respect now, so of course they don't make him wear the Kyoshi uniform. Instead, the main purpose of his training is to allow them to flirt some more. It's less martial arts training and more an excuse to grope each other and near-kiss.

Suki's just a waifu now. She still fights real good, but all of the stuff that made her relationship with Sokka interesting has been erased.

Yue

Yue, similarly, leaps straight to shipping from the word go. They write out her fiance, Hahn, by having Yue briefly meet Sokka earlier in the season. She spends one minute talking to him in the Spirit World about Spirit World lore; In that time, she falls so desperately, madly, unfathomably in love with him that she breaks off her marriage to Hahn and devotes herself to waiting for him to one day come to her.

"Never have I known such joys as that time you let me explain the spirit bear Hei Bei to you. Truly, we are destined to be together for life."

Like with Suki, they go out of their way to have Yue and Sokka already be a ship from the word 'go' so they don't have to spend time developing any kind of meaningful attraction.

They just. They really want you to know that Sokka is the manliest and most desirable man ever to walk this earth. It is very important that you understand how great he is. Women hurl themselves into his arms with zero effort whatsoever, because he's just so goddamn irresistible.

Fortunately, Hahn is super okay with this turn of events. He's the most chill guy ever, he gets along perfectly well with Sokka, and he completely supports Yue's right to dump him! In the famously misogynistic Northern Water Tribe, no less! What a swell guy. Aren't men swell?

June

June gets hit with that "rewritten as hollow waifu" stick too, but her eyes are set on Iroh. They rewrote June to be super attracted and flirty towards the man who was her unwanted sexual harasser in the source material. So that's fun.

Also, she barely does anything. Zuko hires her to find Aang, she succeeds, and then she fucks right off out of the show - But she manages to find time to express how unbelievably sexy Iroh is twice during that time.

She seriously just dropped into the show to flirt with Iroh and leave. She is unbelievably inconsequential.

Kyoshi

And then there's Kyoshi. They really want you to hate Kyoshi. She's constantly shot from below, as if looking down on Aang and the audience. Her voice takes on a demonic echoing reverb at one point as she's screaming at Aang that "THE AVATAR MUST BE A MERCILESS WARRIOR!!!"

She despises Aang, calling him a coward for running away from his responsibilities - Which, I remind you, is no longer a plot point because they unwrote that flaw from his character. So she's just a complete and utter asshole, shot from the asshole angle, yelling violently at him with asshole sound effects. They want you to despise this woman.

Azula

Awkwardly, they do not seem to want you to despise Azula.

There's a lot to be said for how Ozai treats Azula in the original show. The way the favoritism he shows her is every bit as cruel and manipulative as the unfavoritism that he shows Zuko. Ozai does not love Azula. He loves the reflection of himself he sees in her eyes, and his encouragement urges her to polish herself to ensure his reflection always shines through.

This is not that. The show instead erases the favoritism entirely. Ozai doesn't really care one way or another about either of his kids. He plays them against each other, bragging openly to Azula about how great Zuko is and unpleasably writing Azula off as weak and useless.

They've rewritten the dynamic between abusive father and his two abused kids in order to take Azula's pride away. Reimagining her from a gifted prodigy who excels at imitating the toxic behaviors of a father who doesn't truly care for her, to a put-upon overachiever tearing herself in knots to live up to the standards of her unpleasable father.

This results in a truly wild portrayal of Azula as insecure and jealous of Ozai's seemingly love for Zuko. Here, she is simply a browbeaten child constantly complaining to her friends about how mean her father is and conspiring to get one up over Daddy's Golden Child Zuko.

Which she fails at, because she backs Zhao. Zuko deftly defeats her without even realizing they're in competition.

Conclusion

The season ends well for some of these women. It ends promising that maybe we'll see Katara teaching Aang some day. It ends with Zhao bragging that Ozai just used Zuko to train Azula so maybe we'll see the more confident and misguidedly proud Azula some day. Yue becomes the moon like she's supposed to. June's still out there so maybe she'll get to do something again some day.

Katara gets to fight Pakku and lose, but she looks pretty cool. She gets to fight Zuko and lose, but she looks pretty cool. Azula learns to lightningbend because she's just so mad about Ozai's contempt for her and favoritism for Zuko, which isn't how you lightningbend.

But promises of future content fall flat when the content that exists is so underwhelming. This season made its feelings on these characters pretty evident, and it's unwise to expect better material from creators who've disappointed you with the material they already made.

The women of Netflix Avatar simply do not get to shine, outside of superficial moments like the "Women of Northern Water Tribe demand the right to fight and then fuck off and don't do anything for the entire rest of the episode" bit.

"In the midst of battle, we demand that you stop being sexist and give us permission to fight! This is a way better idea than convincing you to teach us to fight before the battle begins."

The characters of this show feel as if they've been reimagined to glorify the boys at the expense of the girls. The boys are treated with a great amount of care. They're dignified and made important movers of the plot, with their rough edges sanded off. While the girls are molded around them.

[afterglowsainz]

we used to have more | oscar piastri

part 2 part 3 part 4

pairing: oscar piastri x reader

summary: while working as community manager in formula 1 you have to follow a rule of no fraternization with the drivers, which keeps you and oscar from being together

fc: different girls from pinterest

warnings: some characters have names (because there’s only so many y/f/n that i can use), some mentions of oscar’s girlfriend as her ex

a/n: so i have this one shot called guilty as sin? (that you should totally go read) and i’ve been thinking about expanding on it a little because i keep getting ideas around the same concept so welcome to an au version of my own fic in smau format, enjoy!

—

liked by oscarpiastri, lissiemackintosh and others

yourusername another season, another year of trying to make f1 fun for the girlies🎀

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liked by f1wags and others

f1gossip mclaren’s oscar piastri was seen this weekend next to y/n y/l/n (the community manager of f1 social media) on different occasions. the people who sent us the videos said that oscar was the one that looked for her and approached her every time

tagged oscarpiastri and yourusername

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liked by exgirlfriend, logansargeant and others

oscarpiastri back to my roots in baku 🏎

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username good luck this year 🧿🧿🧿

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landonorris 👊🏽👊🏽👊🏽

oscarpiastri 😉

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lissiemackintosh’s instagram stories

[caption 1: milesbaldwin, declanmurray] [caption 2: yourusername my 💗]

liked by miguelsossa, exgirlfriend and others

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tagged milesbaldwin

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liked by f1wags and others

f1gossip mclaren’s oscar piastri was seen this weekend with his ex girlfriend at the paddock together, emerging rumors of possibly getting back together after six months of breaking up

tagged oscarpiastri and exgirlfriend

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[buggachat]

im gonna be honest i think the "adrien being a sentimonster was randomly thrown in season 4 with no planning on the writers' part" theory is really funny. like the writers of this show are just so bad at their job and so stupid that they tripped and fell in season 1 episode mr pigeon and accidentally spilled "a strange relationship to feathers" all over adrien by accident. they stubbed their toe on the coffee table and accidentally set up a mystery surrounding emilie's relationship to a feathery miraculous in season 1 volpina before we even knew what its powers were. then they spilled coffee all over their favorite shirts and at the same time spilled more white feathers around adrien in season 2 episode gorizilla. while writing the same episode someone had a really nasty sneeze and got boogers all over the script that said "use the imagery of two twin rings intertwined as the opener for the film of adrien's dead mother". they forgot to look both ways before crossing the street while writing the season 2 finale and were struck by a truck labeled "the peacock miraculous gives life" and then by a second truck with the license plate "it does so using white feathers identical to the white feathers that surround adrien in his ads" at the same time. they plummeted down an open manhole and hit the ground with a loud whack that sounded like "sentimonsters like bugette are just as real as any human..... and isn't bugette so...... perfect?" in season 3. on their way to the hospital they slipped on ice that had frozen in such a way to perfectly resemble the sentence "the word 'perfect' is consistently used throughout the series and by the creator ominously to denote how characters like adrien and kagami are 'different from everyone else', ever since season 1 episode simon says". during season 3 someone on the team got food poisoning and when they threw up felix came out instead and started another whacky series of comedic errors. the answer to the mystery of "how and why did emilie die? what life did adrien's loving mother create that she was willing to die for?" was originally gonna be "idk maybe she just exploded or somehting" probably, but then there was a really painful rock in one of the writers' shoes while walking to work that put them in a mood so bad that they forgot their original plan and instead made some bullshit up that somehow ended up being something that made sense with what we knew and put all the puzzle pieces together and actually made the show even more interesting and impactful on a rewatch because it put a lot of shots that at the time seemed random into a new and logical perspective as clear foreshadowing. it's actually impressive how stupid these silly clown writers are that they put strangely specific things so consistently throughout the entire series that resembled foreshadowing while never actually having intended it a single time! like........... really.......... really impressive............... i think..............

[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!”

[thesiltverses]

A very big thank you

I posted this on Patreon, but really wanted to share it here as well:

Post-show life begins

For a long while now I’ve been getting up at 4.30 or 5am, grabbing myself the first coffee of four, and then coming to sit at my desk.

I open up the assembly cut of the newest TSV episode.

I listen to it, I try and pin down which scenes I need to be going back over today. I try and push through the entire morning without a break because when the momentum stalls, that’s what kills your release schedule. (I also worry endlessly about just how much of my hair is falling out, and how spending 12 hours a day wearing headphones could be contributing to that.)

Today was different. I still woke up early - it’s a hard habit to shake off, and probably a useful one going forward. But I didn’t go to my desk, and I didn’t put my headphones on.

I went to the rocking chair we bought for our son when he comes, and I sat there - gently swaying and trying not to spill my coffee all over it, because for some reason it’s fucking beige - and looked out over the city skyline. 

I slugged back my coffee surrounded by all the stuff we’ve panic-bought for the baby, and I got to take all of it in - washcloths and the changing table and romper suits - with a sudden focus and a clarity and a rising excitement that I really hadn’t allowed myself to feel until today, because until today the work was still unfinished and there was still much left to be done.

All at once I felt very free, and fully sated, and happy and proud for everything that’s coming next.

There’s so much to feel grateful for from the past three years of working on this show. But what’s probably going to sit with me the most is being able to arrive at that moment and those feelings today, - and we have all of you incredible people to thank for that.

Not just in terms of listenership or financial support, although that’s been truly invaluable and a lifeline for us that’s enabled us to actually make the show - but also your enthusiasm, your passion, your jokes and comments and everything that’s helped to keep us motivated and working on it.

So - with as much feeling as words can convey, thank you so, so much for everything.

What’s coming next, in rough order

#1: Parentdom is going to take over our lives for a while! I also want to write the final Patreon episode commentaries in the next few days, while I have the time and the clear memories. #2: The next thing we’ll organise will be the post-season Q&A (we’d also like to do some kind of off-camera cast party if we can make schedules work, just to say thank you to our amazing VAs and celebrate with them). Please do ask us questions! #3: We have long-unfinished commitments to the Patreon which I need to complete: the last two episodes of So Long, Good Luck, and rounding off Sid Wright’s story. As ever, huge thank-yous for your patience with these; they’ve just been impossible to polish off while also working on the main show so much. #4: Something I’ve been thinking about for a long time is the possibility of going back to Season 1 and redesigning it from scratch to try and bring it closer in style to S2 and S3. We have the raw audio files - some of the mic quality will just be rough no matter what, but we can certainly try.  This is something I want to be conscientious and careful about; I very much want to respect the sound design work that’s already taken place, and ensure we’re not overriding anything. But I do know that the initial quality still sometimes puts new listeners off; we were learning a lot about direction and mastering from scratch, and our designers were working with limited budget and a total lack of plugins, so there’s simply a lot more we can achieve now. (This would also be a good opportunity for me to finally rework the transcripts, another fallen hurdle). #5: A few months back, we were contacted by a literary agent in NYC who was interested in us adapting the show into a series of novels. There’s a long road ahead to actually get published, but I'm thrilled to say that I have signed with them and I’m really excited to hopefully start work on the first book once I’ve settled into dad-dom. I’ll need to check what’s possible, but if it doesn’t interfere with any contract condition I’d obviously love to share excerpts on here as it’s written. #6: Then there’ll also be another larger audiodrama project - we’ve spoken about the different possibilities before! Excited to get started on our final choice.

Just one last word about endings

God, endings are scary. Because endings are impossible.

How many serialised stories actually end in a way that’s received unequivocally well?  People yelled at The Sopranos for its ambiguity and open-endedness. People criticised Breaking Bad for treating Walt too sympathetically at the end and relying on a generic mob of snarling Nazis to act as his final foe.

Endings are either too pat and neat, or too inconclusive to be satisfying, or too surreal and dreamlike, or they simply make what feels like the wrong choices for the characters we care about. We’re all caught in that barbed wire, creators and audience alike, weighed down by the baggage of what’s come before and we've already spent so much time anticipating the infinite possibilities of how it could all turn out - it’s like we can’t get free of the story that’s trying to end. 

And the beautiful thing about these longform, iterative works is that they insist upon becoming completely ungovernable. No matter how much of a planner the creator claims to be, how much prepwork they carry out - they were never really in control. There’s spontaneity and surprises and dead ends and beautiful distractions that come spilling out along the way (I was baffled and delighted to learn that people really - at the end of the show, with such limited time to spare - wanted to find out what had happened to Eddie*). 

So they can’t end. Not really. There’s too much wonderful mess in them to ever be reasonably disentangled.

And, of course, for every ending people remember with frustration or dissatisfaction, there’s another hundred endings that nobody remembers at all, because we lost our enthusiasm along the way and it feels better to keep going back to the start and avoiding the slow decline. (Who the fuck remembers how the umpteenth X-Files reboot ended? What increasingly tired post-modern antics was Alan Moore getting up to in the final League of Extraordinary Gentlemen books?). I really just didn’t want the show to end up in that latter category.

All of that probably sounds like I’m warding off criticism about the show's ending, but for me it’s actually been the opposite. 

For an ending which is all about narrative dissatisfaction, and failed potential and missed opportunities, and how we need to come to terms with the lack of existential fairness and certainty and narrative control in our lives and keep ploughing forward all the same for as long as we possibly can, I’m massively stunned at just how positive the reception has been on here and elsewhere, and that’s something I’m actively having to process, because I think I was fearfully anticipating much more pushback.

But, look - the Eskew finale was originally quite poorly-received and then people came back around to it over time. So I’m not going to pat myself on the back too hard, because maybe it’ll ultimately be the opposite with this show, and that’s OK. For 200 years everyone was convinced King Lear was improved by having everyone survive at the end and get married. Endings take time to settle into their final condition.

For now, I am incredibly relieved that the ending we chose seems to have landed for most people, and I’m incredibly grateful for the lovely messages we’ve got about it and for the trust in us that you’ve all shown throughout the story.

So, yeah, let’s end with another thank you, because that’s what I feel so deeply and so forcefully at this point.

Thank you so much again, and speak soon.

Jon

*My take? We’ve established that the guy is in some kind of blue-collar job and has been pushed into constant overtime due to the reduced workforce. We’ve seen that the so-called ‘national holiday’ doesn’t actually rescue workers from their commitments. So I personally imagine that Eddie was working during the parade somewhere on the city outskirts, and is alive and well.