#kayfabe theory

[ineffableigh]

Holy shit.

Get your noise cancelling headphones out because you can JUST BARELY HEAR Aziraphale say "out help" at the end of his mouthed "We need help" Alternate possibility being "We need help/we need to get help."

Oh my God.

Kayfabe theory confirmed? @ao3cassandraic

Pertaining to my other post:

[supakixbabe]

My second AEW theory: @keytothewardy brought up an interesting perspective. Do you think the Young Bucks are having an identity crisis?

So, let me explain. The Bucks have been portraying the EVP role since they returned after Worlds End 2023, the start of 2024. Reminder: They left on a hiatus after losing to the Golden Jets at Full Gear 2023 after throwing a temper tantrum. But that tantrum wasn’t exactly because they lost the match, it was more-so they lost a best friend/brother.

Anyway, back to my point. The Bucks adapted to their new persona for a full year and they’ve done unforgivable things to their friends and co-workers — hell, they even beat the hell out of Sting and Darby, and Sting’s sons. They were the ruthless EVP’s who brutalized their boss and started a revolt against AEW.

But after the Kenny incident of 2023 and 2024 — the abuse on their former friend, the crack in their persona began to falter. They created a new version of The Elite to fill that void of Hangman and Kenny Omega. Adding Jack and Okada, then ditching them after their plans go awry.

Cause that’s what they do. Everyone is a scapegoat to them if they can pin it on them.

When they got a IWGP title match in Japan, and they won inside of the Tokyo Dome after 6 years; they’re brought back to the days of The Bullet Club, The Elite, and winning championships — their new persona falters between the old Young Bucks and the EVP Young Bucks.

I can see them thinking: “Who the hell are we?”

For however long the EVP Bucks stay, there will be cracks in their persona going forward.

But that is just theory, a kayfabe theory.

[cephalopodsquad]

so... bare with me and put on your tinfoil hats, but im having thoughts about swerve strickland, death and resurrection, the supernatural, and hangman adam page.

so as we all know, swerve at wembley was in a coffin match and IN KAYFABE was stuck in the coffin for 2 weeks.

(this gifset is by bloodycowboyclub)

so... what if he wasnt stuck? but was actually dead and buried?

what if swerve came back... not necessarily wrong, as he was already ruthless before (i mean, look at the nick wayne attack spot. that was brutal)... but instead came back different? almost... inhuman? came back with an unsettling smile, with even less regard for human life?

(bloodycowboyclub again)

his eye makeup is getting darker every single week, almost like hollywood rotting zombie makeup, or showing that he himself is getting darker. same with his gear, focusing on reds and blacks (and gray fur coats ofc) instead of colors.

he hasnt slept since August? since the coffin match?

my favorite though, is how he knows how to get under hangman's skin. yes yes, going to his home. the drawing from his child. but also every word swerve says in the ring to page. his body language.

(original gifs by firstmix)

he knows exactly what to say and what to do to make hangman angry. angry enough to draw blood. angry enough to drink it.

and then there was last night's promo. I'm still thinking about it.

“If God opened up the clouds above us and challenged everyone on earth, I believe Hangman could beat Him….. But he still couldn’t beat me”

implying that Swerve is not of this earth like hangman or anyone He would challenge. but isnt capital g God either - instead something different. something stronger.

swerve was in a coffin for two weeks. he hasnt slept well since then. his makeup and gear has gotten darker. he has gotten bloodier in the ring, and has targeted hangman, easily getting under his skin.

(bloodycowboyclub once again)

i wonder, if when hangman shouted the above words at swerve, if he knew just how right he really was.

[princehendir]

I mean yeah I guess dril tweets are different now but it's a "same guy ten years later" kind of different not a "the account is now being run by a different person now" kind of different

[tayfabe75]

I am so glad I found this blog! I’ve been following this along since last year and to me it seems so obvious! They were sad they had to go underground in June and when that random article said they were back together I think it spooked them and they decided they needed to do something drastic to keep attention off of them until enough time passed and Taylor corrected the narrative somewhat with tortured poets. They decided on PR relationships. With gabbriette it’s obvious, she is less famous and obviously looking for clout, it’s very common for these types to hook up with someone more famous and boost their profile. He was looking for prospects and I think he tried with meredith first but it didn’t work out for some reason. She definitely signed an NDA because all she did was unfollow him when he launched with gabbriette. Gabbriette was dating another guy basically a week before she started “dating” matty. Maybe they were already on the rocks and she jumped at the opportunity. Charli probably helped identify her. 

I think they made this decision in July after that article said they were back together, whoever wrote the article had some sort of proof probably and was paid off. I bet someone they know sold them out and they were both pissed. It would explain why matty had his breakdown in July, frustrated that it had to come to this, but they both think of each other as the end game and decided it was worth it to do this for a while and then slowly roll out a reunion. Matty’s breakdown in July happened around the same time travis made that friendship bracelet comment on the podcast. Travis obviously was down to sign this relationship contract to boost his chances at getting into hollywood. So basically I think this was all new to matty and he didn’t know how to act which explains his weird social media activity and trial and error with meredith. It also explains his breakdowns on stage later because he was probably sick of it while taylor is better at hiding her true emotions from fans and she has likely done this before. Basically I think that the new album is a necessary step in a plan that will allow them to end up together and not have the public freak out as much. It is no mistake that she added so many clues for people to decipher about matty. Some people are still in denial or think she hates him because of one song, but overall there has been a shift in public perception and interest in matty aside from the controversies.

My only question is how long the contracts are???? I have been reading it’s usually a year minimum but I’m sure taylor can negotiate less, wasn’t tom h only a few months? I’m at the point now where I’m just waiting to see how long they drag this out until the breakups and how they handle it, if they stagger the breakups, how they re-launch etcetera. 

What do you think???

Hi anon! Interestingly, the man who reported that Taylor and Matty were still together last July worked for The Sun, who were the ones that broke the news of their dating back in May! In September, he also suggested that The 1975 would feature on 1989. Mysteriously, he would go on to retire in December, shortly before the "Slut!" collab leak. Convenient timing!

Though Taylor would later backdate her new relationship to July, all evidence points to September for the official launch of both her and Matty's new relationships.

It seems Taylor might have had some sort of deal with the NFL as far back as 2019 in the Lover era, and that is around the same time that Matty met his current partner, who was receiving complimentary tickets to one of his shows back then. You're right, just before Matty, she had been in a serious, longterm relationship with another guy (who is now, incestuously perhaps, dating Matty's other ex - yep, the one who came both before and after Taylor! Also, these two are the absolute most hysterical side characters in all of this). Like I said before, it's also convenient that both of these relationships are basically pre-existing fandom memes from 2020!:

As you can see, I am a bit reluctant to actually type out any names because I don't want to attract fans of those relationships. I'm not here to crash anyone's party! I just happened to witness a once-in-twenty-lifetimes kind of love and I'm just trying to make sense of everything that's transpired since. Who they end up with doesn't really concern me, though I can't help but root for their reunion because, you know, I have hearing. (Which, by the way… I cannot for the life of me understand how Taylor's fans heard the masterpiece 'About You' and would rather romanticize Taylor being a "WAG" or a "teammate's girlfriend" rather than a muse for a fellow musician who is, dare I say, on equal footing with her as a songwriter and musician! I'm stumped)

But either way, like I said - I am not in the business of villainizing any characters Matty or Taylor choose to associate with. I do believe that these are PR relationships and that both new partners have gotten plenty of opportunities since becoming the public partner for both musicians, and that's not even a bad thing! If they are meant to distract from the controversy and feed ravenous fans, then so be it. Genuinely, I'm happy for them.

I'm glad you mentioned the friendship bracelet! 'Cause sometimes I clown every now and then that the album Midnights seems almost like foreshadowing for what would transpire in Taylor's public life since it dropped! We have a 'Lavender Haze': January at the O2 love spiral, someone talking talk and going viral on Adam Friedland, 'Maroon'/SotB: Taylor falling again for someone from her past, YOYOK: Taylor accepting a friendship bracelet, next up - perhaps a declined proposal? As predicted in both 'Midnight Rain' and 'Bejeweled'…

As for contracts, anon, I'm glad you asked! Taylor's partner's publicist, Pia Malihi, is another interesting rabbit hole to fall down. She got her start in a company called Bowery Public Relations/EMCBowery (of all things) and has partnered with fellow publicist Jack Ketsoyan to launch Full Scope Public Relations. A few years ago, Jack went on record exposing fake romances he helped set up, calling them "love contracts" and that they "legally bind famous couples together for at least a year".

Now, what's interesting about the "year" estimate above is that there are three possible end dates for this contract, if indeed, that's what it is. September is when they actually launched as a couple. However, Taylor backdated this relationship to July! Strangely, as of today, the media is saying that it is Taylor's year anniversary, despite the fact she was definitely with Matty a year ago. So… perhaps we're stuck with this stunt until September. If we're lucky? July. If we're truly fortuitous, then perhaps it ends this month! Or you know, maybe never. Who's to say?

Make no mistake though, anon, no matter how hard Twitter tries to virtue signal... Taylor wants us to pay attention to her love life and public persona for some reason. Of course, my theory is that she's done playing Barbie and is ready to burn down the dollhouse.

Thanks for the ask! 🤍

[radioregine]

ive talked abt it b4 but rpf used to largely be uncontroversial bc ppl knew how to 1) mind their business and 2) keep up a sort of kayfabe/understand that we are dealing w public personas and not the actual people's innermost thoughts . my theory for the last ~decade has been that certain overzealous peterick fan antics paved the way for larries and the phandom to Ruin Things

[dinosaurgiantpenny]

Conspiracy Comics 1 by Jim Rugg

[embracing-the-ineffable]

This is a gorgeous! analysis of the Final Fifteen, with a focus on Crowley's perspective and a fantastic emphasis on the symbolic use of light and shadow. The screenshots are very evocative as well.

(Lots more thoughts and some relevant links below the cut!)

It's also an interesting point that the only time we hear The Metatron say Crowley's actual name is in Aziraphale's retelling of their conversation; that seems like more evidence about his unreliable narratorship in this instance. (And remember, Azi is the primary narrator for season 2, including the flashbacks.)

And I noticed the 15-minute time jump in these screenshots, which weren't at all taken with the intent to highlight that, which just goes to show how clear the "continuity error" is, if you look. The other clock in the bookshop isn't readable in these screenshots, but it's worth noting that there are two, and they both show the same "continuity error". (I think this has to do with Crowley stopping time shortly before or during the kiss.)

This lovely and insightful analysis from @halemerry also pairs really well with one of the analyses that focuses more on Aziraphale's perspective. Maybe this one from shiplessoceans, which assumes Aziraphale believes The Metatron's offer, or this one by ao3cassandraic, which assumes he isn't buying The Metatron's bullshit offer and is trying to covertly cue Crowley to the way he's being manipulated and threatened back to heaven - by using their pre-established kayfabe (ie, the ways they covertly share information with one another without tipping off any listening agents from heaven or hell). I love that term as a shorthand for discussing all the ways they've had to speak in code for thousands of years...

Ok, last thing, I think this video edit and associated analysis from daria-meoi is super relevant to the Look from Aziraphale to Crowley, right after The Metatron mentions the second coming. It would seem from this that Azi is sending a message to Crowley. (Maybe another part of the message are the flowers blooming in the back seat?)

Thanks again OP for this gorgeous analysis, and especially the parts about light and shadow, which I haven't seen mentioned anywhere else. It all adds a lot to my perception of the final fifteen.

I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

[jupiterjunebug]

COME ON DON CALLIS BE A HATER ON FLETCH FOR LOSING HIS BELT IN ANOTHER PROMOTION SO HE'LL DITCH YOU. IM BEGGING U

[blbcabelts]

@fromalegacy , for seth.

the sting of defeat hung overhead. it makes the air surrounding the pair heavy, almost uncomfortable. but, it's not just this which plagues the not so average, average girl. no. wrestlemania had a lot more implications than met the surface. a great deal had been at stake for the showcase of the immortals. things only herself, the judgment day, and of course, her husband knew. there she sat beside him, their daughter clutched close to her chest as legs tap furiously. anxiety creeps through her veins, just waiting for one of them to slither around the corner. it was only a matter of time. she sighs upon seeing the look on seth's face. " i don't want to talk about it, " a beat, frowning. " ... okay? "

[biglisbonnews]

Wrestling's queer appeal: author explores performances of gender in powerful new piece Writer Abraham Josephine Riesman has a remarkable knack for honing in on the essential humanity and sociopolitical impact of real-life pop culture icons, from her interviews with Art Spiegelman to her already-iconic Stan Lee biography, True Believers: The Rise and Fall of Stan Lee. — Read the rest https://boingboing.net/2023/04/03/wrestlings-queer-appeal-author-explores-performances-of-gender-in-powerful-new-piece.html

[embracing-the-ineffable]

More evidence that The Metatron is Watching, and Azi is trying to subtly cue Crowley (with kayfabe) to the impending disaster without tipping the Metatron off. Crowley should have also thought "wtf" and normally, he would have, were it not for the Nina-and-Maggie-instigated love confession consuming all his focus in this scene.

#Respectfully, wtf happened Aziraphale <3

[tayfabe75]

"When we went to Manchester, he had the whole entire day mapped out. I had no idea what we were doing. He was like, 'Right, we're gonna go here, we're gonna go here, and here's why we're gonna go here'. I mean, he was interviewing himself! It was amazing."

December 5, 2022: Zane Lowe discusses Matty with his friend and fellow songwriter Lewis Capaldi, lovingly referring to him as a troll. (source)

[danphanwritingprompts]

"Oh, Da-Dr. Fenton. How can I help you?"

"How come you're the only face among the ghosts?"

"The only what?"

"You know, as opposed to a heel."

"..and here we go! The latest angle for your 'all ghosts are in cahoots' theory that conflicts with 'ghosts don't work toward anything but their own twisted desires'! I am so tired of—"

Danny's rant was cut short as a cold wisp emerged from his throat, and Walker approached.

"Under normal circumstances, it would be against the rules...but it seems there's been a misunderstanding on the kid's part that warrants breaking kayfabe."

[dinosaurgiantpenny]

Conspiracy Comics 1 by Jim Rugg

[supakixbabe]

I have a thought!

Matthew said to CD before leaving: “When we came back here, we wanted to change the world. Right? We wanted to make this a better place. And you and nobody else wanted to listen to us.”

What if they made a deal with the Death Riders (mainly Mox) to shape up AEW since nobody would listen to them, but it went south? Like the incident with Bryan and Chuck wasn’t supposed to happen and thats when the bucks realized, wow we screwed up or maybe Mox went rouge on them.

Because everyone knows that nobody tells Mox what to do.

But that is just a theory. A kayfabe theory. 👀