#thavron

[lumiereandcogsworth]

saw these and thought of you!

WHAOGHAGHSKDJ HEY DUDE HEY BABEY WHERE DID YOU SEE THOSE I GOT MY WALLET RIGHT HERE HEYYY ARE THEY FOR SAAAALLEEE 🤲🤲🤲🤲🤲

[thavron]

you have oc’s 👀 Tell Me More

Well first there was Thavron. They were kind of a self insert character so naturally I took their name for an online handle. They're a half elf that lives in the woods and protects the wilds from poachers and other nasties. They have a companion named Shadow who is this black panther that just started following them around one day. Shadow probably saw Thavron as a potential meal, and initially was stalking them, but gained a respect for their work. Now he just follows behind them, like a shadow, thus the name, and comes to their aid when they need it. I first created Thavron about ten years ago and they pop up every now and then when I need an NPC for various TTRPGs. I did have various fiction online, but I purged a lot of it when I started job hunting. Stupidly I posted them under a username connected to the email address I was using to send out CVs. So yeah didn't want potential bosses reading my doctor who fanfic and other random stories 😅

Then there is Sequoia, who is Ursan, or bear-folk. His people are a nomadic tribe that live off the land. He's a fisherman and his personality is somewhere between Samwise Gamgee and Winnie the Pooh. People are intimidated by his stature, but hes a big softie really.

And then of course there is Tireless Thorn, who I've written about on this blog. Big warrior guy who is trying to make a name for himself in the Stolen Lands. I created him for a Pathfinder campaign, so our GM gets to sort of direct his story. I've been slowly writing up the sessions as fiction which is fun.

I do have plans to throw all three into an adventure together, but I am very much in the preping stage and not going to be writing it for a while.

[thavron]

So my brain is trying to combine this little human!AU inspiration with the final fifteen and i hate it. Something about Aziraphale leaving forever and Crowley always being able to see him reading his fic...

The other day my beta was online and seemed to be reading my WIP as I was writing (the Google docs icon yk) but wouldn't respond to my messages. I just learned to ignore it after awhile bc there was probably smth going on.

A week later I found out they were out and not connected to the internet for a week. Their computer was just open in their house.

Anyways I could totally imagine Crowley learning to ignore the little online icon until it's too late...

ohhhh my godddddddd the HUMAN!AZIRAPHALE META THAT JUST EXPLODED IN MY BRAIN AND I'M SO ANGRY ABOUT IT

i mean yes, all of this yes, but stick with me here:

aziraphale's icon is always there because the tab is always open

because

[vidavalor]

Stars Crashing Down

For @tickety-bippity-boo and @thavron, who wanted thoughts on why the same musical cues play when Death spreads its wings as during the Jesus scene and the 2.06 kiss.

The questions posed to me were: What's the deal with Crowley and Death? Is Crowley Death? and the answer is... well, um... kinda... just read it and you'll see what I mean. 😉

You have sought The Black Knight, foolish one, but you have found...

...your death.

So, you do not have to read it first but, over here, I talked about the connections between why the same musical cues are playing in the 2.06 kiss scene and the Jesus scene. What we're going to do here is expand those thoughts out to include Death spreading its wings having the same musical cues and talk about why that might be.

The 2.06 kiss/Golgotha scene meta talks about how the show is using different meanings of the word passion and how Golgotha is contrasting romantic passion with the suffering and death of Christ, aka The Passion of the Christ. This isn't the only instance of a comparison between destruction and death and passion in the series. Looking at more of them will probably help clear up what's going on with the parallels between Death and Crowley (and Aziraphale) in the series, so, that's what I'll be doing here and you can let me know what you think, yeah?

Passion is, by far, not the only word that has such wildly, contrasting definitions, but it's one of the strongest examples of it because of how its definitions illustrate how people make comparisons between the experience of erotic love with the agony of suffering and death. The word is an example of something we could call a destructive sexual metaphor or sex and death.

Throughout history, humans have sought words to explain the experience of sex and many different common metaphors have arisen from this. Crowley and Aziraphale, for instance, also have a whole thing about one of the other most common ones in the arts, which is the sea. Linguistically-speaking, though, the most common ones have always been death and destruction. Why?

Well, some people see an orgasm as a rebirth of sorts and the closest thing a person experiences to death while still remaining alive. Both sex and death come with a sense of a lack of control. They are on the opposite ends of a spectrum when it comes to experience, with one being an example of intense pleasure while the other being possibly painful and an ending from which you do not return. This draws contrasts between them. Similarly, something being destroyed-- like a crumbling building, say-- is seen as metaphoric for the feeling of coming apart that can accompany an orgasm.

As a result, across many languages, there is a metric fuckton of linguistic overlap between words related to death, destruction and violence and words related to love and sex. The French phrase that means an orgasm, for instance, is la petite mort which, when literally translated means the little death. When Hozier sings the song that is on Crowley's playlist and offers his life in exchange for "that deathless death," the "deathless death" in question is an orgasm. He is using death as a metaphor for the sexual pleasure about which he is singing, which is currently one of the most well-known examples of sex and death/destructive sexual metaphor in modern music, if nowhere near the only one.

If you start thinking about slang words for sex, I'd wager quite a few of them are going to fall into the category of a destructive sexual metaphor because they're also words related to a sense of destruction. Bang. Smash. Wrecked. Nailed... Would you sleep with him? Yeah, I'd hit that... Even puppy love is destructive sexual metaphor, as it's a pash (short for passion) or a crush. The word that we use to say we have a little thing for someone-- a crush-- is the same word we use to say someone was killed within the rubble of a bombed building. Both a little disturbing and quite interesting, right?

If you've ever written or read erotica that was at least purporting to be a little literary 😉, you know that there's usually a lot of writhing and thrashing involved-- words that are originally rooted in flailing around in pain that are being used to describe how the body moves in the midst of sexual pleasure. These words, too, are a form of destructive sexual metaphor.

As anyone who has gotten back from seeing Deadpool and Wolverine improve the sales of Hondas for the foreseeable future can tell you, using violence and destruction as a metaphor for sex is not going anywhere. It's not new-- it's actually very, very, very old. How old, you say?

Well, how's this for homoeroticism: the word weapon comes from the Old English waepen, which was a word meaning penis, you guys. Dudes literally invented swords and the like to kill each other and then went 'this is just like my dick' to a point that they just called them the same fucking word. 😂

It's a truth universally acknowledged that nearly all Good Omens fans have seen Our Flag Means Death-- a tv show whose title is an example of sex and death happening, let alone the rest of the show. This also means you've all seen the most blatant example of destructive sexual metaphor on screen maybe ever and, if you have seen OFMD, you already know exactly what scene I'm going to say... 😂

It does not take much to infer that, perhaps, Stede's sword was standing in here-- so, was metaphorical for-- his cock and what Ed really desired here was to get done into the following Tuesday. The sword is a very overt metaphor for penetrative sex. This is what very blatant, destructive sexual metaphor looks like. More subtle ones exist-- it would be hard for them not to, by comparison lol-- but this is it a nutshell.

Ok, I can hear you saying: alright, I love the sadly departed queer pirate show, Vida, but what does this have to do with Good Omens?

As we'll see, Crowley and Aziraphale are fucking obsessed with death and destruction as a sexual metaphor, that's what, and sex-and-death is a theme of Good Omens.

Crowley and Aziraphale are supposed to be hereditary enemies. For thousands of years, when they've been in a place where someone could overhear them, they've had to sound like they dislike one another. To sound like a good angel and a bad demon, there needs to be talk of being on opposite sides of what is ultimately supposed to be a large-scale military conflict. Heaven and Hell are places of violence and destruction that are full of talk of war and Armageddon, right?

As we'll look at, you can use those words of death, violence and destruction to mean sexually euphemistic or, depending on the word, even romantic things... which is what Crowley and Aziraphale do.

Crowley and Aziraphale's language exists to mask their speech in public but the way they use it is to take those words of aggression and use them as flirtation. They're wonderful dorks who get off on seeing how cleverly they can wordplay each other into bed. Their little birdsong mating dance-- whether in public or private-- involves a ton of sex and death and destructive sexual metaphors. I've picked out a few of what I think are great examples but this is in no way all of them.

Receipts time. 😉

In 1.01, a drunk Crowley and Aziraphale are, on a surface level, talking about the destructive devastation that will happen to Earth when Armageddon happens. In reality, Armageddon here is a metaphor for a top notch time in bed. It's the end of the world so it's an irresistible metaphor for a really, really, good end, if ya get me.

Crowley flirts with Aziraphale with a bit of destructive sexual metaphor that is actually made even funnier retrospectively by 2.01's Before the Beginning scene and that's this bit here: "Stars crashing down!"

Making someone "see stars" is an example of destructive sexual metaphor in language because if a boxer takes a punch and starts to wobble, someone might say "oh, he's seeing stars"-- meaning, he's probably a bit concussed or, at least, disoriented from the punch-- but you can also want to make someone "see stars" in bed, which is descriptive for giving them pleasure. It comes from how many people see flecks of light when they orgasm. Crowley is taking this one step further by referring to them as the stars, which is made funnier by the fact that they set the stars in the sky and the first things he ever showed Aziraphale were literal fucking stars 😂.

And what are these stars doing? They're crashing down.

Crowley is comparing the stars falling out of the sky in the final destruction of Armageddon-- so, the destruction of the universe-- as metaphorical for the two of them in bed later on. Aziraphale gonna be so gone, he'll be like what are they putting in bananas these days? (The bananas are another post. Do not distract me while I'm on a roll here lol.)

Aziraphale comes back not long later when he's gotten enough drunken synapses to fire and he's got a destructive sexual metaphor for Crowley that wins at life by their standards because it also encompasses the sea which, as we looked at in the Fish meta (I'll link it later on in the post), they've been using to talk about sex seemingly ever since they first started having some literal and metaphorical oysters back in ancient Rome.

Aziraphale's metaphor? The Kraken.

The Kraken is a mythological sea monster that was often seen as something of a sea serpent, even if historians believe that it was based on giant squid and octopi before those were more well understood. Hmm, I wonder what long-limbed sea serpent could be The Kraken in Aziraphale's metaphor here? 😉

And what's supposed to happen to "The Kraken" that is Crowley during Armageddon?

Oh, it's supposed to come up from the sea to the surface "in the end, when the sea boils." When it all gets too hot because the sea in the mother of all boils here and "the end" is in sight, The Kraken is going to come to the surface.

This is Aziraphale using Armageddon as destructive sexual metaphor. He's comparing sea creatures trying to escape the boiling waters of Armageddon and dying trying to Crowley's near-future orgasm.

They managed these drunk so imagine how filthy they are sober! 😂

We don't have to, actually, as there are lots more...

When Crowley and Aziraphale crossed paths in The Kingdom of Wessex, how did Crowley flirtatiously greet Aziraphale?

"...you have found (dramatic beat while he poses) your death."

Crowley is amusing them both by using the words he has to say to sound threatening while posing as the seemingly violent Black Knight to actually refer to the fact that he's not Aziraphale's literal death-- he would never harm him-- but he is very much Aziraphale's metaphorical death, in that he is Aziraphale's lover.

It's a play on death and destruction as sexual metaphor, in that Aziraphale arrived expecting an encounter with violence, potentially, and, instead, he's found "death"-- pleasure.

For a pretty basic example, there is Aziraphale's "sitting on it" joke and that smirk 😂 to Crowley...

...this is a pretty surface-level but still very funny joke equating the sword with a cock and illustrating that Aziraphale is making the comment innuendo intentionally for the amusement of his partner, who more than gets the joke. Hell, his partner originated the damn joke...

Destructive sexual metaphor is also why Aziraphale references The Titanic when promising a great time at The Meeting Ball and why the theme song to the 1997 movie is on his playlist in S2.

The Titanic is the greatest nautical disaster that has ever occured. By Crowley and Aziraphale standards, that makes it metaphorical for best of the best sex. (Unfortunately, Aziraphale accidentally manifested an actual disaster instead lol.)

One could also say that positively destroying some barbecue is destructive sexual metaphor, especially when one looks one's partner dead in the eye in the middle of it and uses it as euphemistic for other things onto which one might like to go down.

Whew. Good thing Crowley has the constitution of an ox...

Now, you might say... but what do these two care about death and destruction? They're immortal! Except... they're not. Not entirely.

Their relationship is dangerous as all fuck and if they got caught, they could be killed. They do fear actual destruction and Aziraphale uses the word destroy to refer to that with Crowley in earnest more than once when expressing his fear over it.

The spectres of holy water and hellfire looms over them because they could be killed if they are caught. How they end up surviving that risk at the end of S1-- swapping bodies-- is a sexual metaphor in and of itself. The point is that there is risk to them so they understand the human comparisons between sex, destruction and death.

This is really why Aziraphale is so excited about The Bullet Catch in S2. There is nary a more frequent example of a weapon used in destructive sexual metaphor than a gun and, as I looked at a bit in the Fish meta, The Bullet Catch is a metaphor for the history of their sexual relationship and Rome, in particular.

In 1941, The Bullet Catch was Aziraphale's answer to the destructive sexual metaphor Crowley had made when redirecting the bombs in the church by finding an equally sex-and-death magic trick that they could perform together. They both were well-aware of the metaphor.

Understanding this and destructive sexual metaphor in general helps to make clear what it is that Aziraphale actually mouths at Crowley:

When Crowley is struggling to actually fire the gun because he's anxious and, ya know, doesn't want to kill Aziraphale (kinda understandable lol), what Aziraphale mouths at Crowley helps him focus and fire the literal gun that they could not possibly be using more euphemistically if they tried (and they are trying lol.)

If you look at the above gif, you will see that "trust me" are not the actual words that Aziraphale was saying, as those words do not match the movements of his mouth. What he says means "trust me" to Crowley, as Crowley later states, but those are not the words that Aziraphale actually soundlessly said to Crowley on the stage.

Instead, it's pretty evident that what Aziraphale actually mouths is "come for me." He got Crowley to fire the literal gun with some words that do it for Crowley in the situation for which the literal gun is a metaphor. Aziraphale having a gun to his head and using language he'd use in bed is the most sex and death thing that has ever sex and deathed.

This is referenced in the Chateauneuf-de-Pape scene afterwards, when they're still talking about The Bullet Catch as if it was sex, both well-aware of why they spent their date night using a gun-firing performance as foreplay.

Aziraphale referring to what it was he actually mouthed:

Finally, if The Bullet Catch is the king of destructive sexual metaphor scenes between them, then the queen is The Seeds of Destruction.

On the way to Tadfield in S1, we have this scene in which Crowley was giving Aziraphale a few more details about when he dropped off the baby eleven years earlier and started to feel down about how the whole thing is a mess and Armageddon is days away. Aziraphale then starts in on this little monologue using a religious teaching to talk about the nature of evil that gets quite a response out of Crowley.

A lot of people already see the end of the scene for what it is, as it's fairly overt:

You don't have to be looking at wordplay too heavily to see that Crowley's saying that what Aziraphale just said has him hard and that is emphasized by the shot we hold on of Aziraphale to end the scene being that he is clearly checking out the fruits of his labors. So, what, exactly, about what Aziraphale says in this scene is so hot that Crowley is trying to be cool but is very glad in this moment that the car can drive itself?

What Aziraphale is doing here when they're obviously alone is using the slightly pompous angel voice he uses when they banter in their speak in public and he is paraphrasing a religious teaching-- one that Aziraphale doesn't believe in or else he wouldn't be here in this car in this moment-- as the basis for wordplay. What is he doing with that wordplay? He is dirty-talking Crowley in blasphemous destructive sexual metaphor.

Aziraphale sounds like he's talking about the religious teaching that states that evil will always falter, no matter what, simply because it is evil, which means that it is doomed to always cave to good. He is actually using that teaching as a metaphor for how he will "win out" over Crowley the next time they have sex. To do that, he adds destructive sexual metaphor to the very hot blasphemy of using religious language to talk about sex because raindrops on roses and whiskers on kittens and all that but if you mash up etymology, blasphemy, destructive sexual metaphor and the pompous angel voice, these are a few of Crowley's favorite things.

How does he use destructive sexual metaphor here?

Aziraphale is talking about how Crowley keeps the seeds of his destruction-- the impetus for what turns him on-- quiet and doesn't let people close to him and to know him is to know just what he likes and oh Aziraphale knows what he likes (like word flirting while he's driving lol)... and also that one of the things that Crowley likes to contain are the other way the "seeds of destruction" can be taken, which is the literal seeds of his destruction (yes, this is scene #543 to make an orgasm denial reference) but doing that, Aziraphale is saying? It's going to be no use, Crowley...

Among the wordplay in here is that Aziraphale is saying that Crowley might think he's going to last but he's wrong because, eventually, Aziraphale is going to have him metaphorically crashing on the rocks in a shipwreck ("founder on the rocks") and "vanishing"-- a word that means to suddenly disappear. A vanishing, in and of itself, is destructive sexual metaphor but the verb 'to come' is also the root of the words appear and disappear, making to 'vanish' doubly-euphemistic for a sudden, dramatic, ah... "disappearance."

Aziraphale is literally sitting there in the passenger seat chatting away in religious speak, wordplay-happy euphemisms, and with those he is saying, among other things: I know you and what you like and what you need and I'm going to have you dying for it and no matter how much you might try not to give in, eventually, you're going to give yourself up to me and I'm going to make you come so hard.

It's a little more detailed and more clever if you go word-by-word but, basically, that is, in summary, why Crowley is trying not to drive off the road at the end of this scene-- and it's destructive sexual metaphor to a point that there's a vanishing and a shipwreck-- plus, the word destruction literally in it.

Finally, the extent to which they use destruction and death as sexual metaphor is actually best summed up by a moment in which Crowley used it-- but not just as a flirtation.

In 1827, as Aziraphale debated healing Wee Morag, he thought he had more time than he actually did. Crowley, who could sense Wee Morag dying, tried to interrupt him to tell him:

Aziraphale continued for a second in which he says: "I will brook no argument"-- a phrase that implied through its use of a word that also means a type of body of water that he thought he had enough time to flirt with Crowley for a moment before doing anything. The whole exchange is only a few seconds long and Crowley knew that it was over before Aziraphale had even proposed healing Morag and that there was really nothing Aziraphale could have done.

He turns Aziraphale and they witness Wee Morag die. This is the first scene we've seen where the two of them see death happen before them, even though we know they've obviously seen it happen on Earth before. Both of them are understandably upset by Morag's death.

As Aziraphale then speaks to Elspeth, he starts to stammer, emotional over Morag's death and feeling guilty that he didn't save her. Crowley steps up to comfort him before moving to help Elspeth. Crowley wants Aziraphale to know it wasn't his fault and to not feel guilty for flirting while the young woman was dying, as there wasn't a way to save her. He does so by combining the comforting tone and pat of Aziraphale's chest with further flirtation, picking up where Aziraphale left off to show him he doesn't think badly of him.

The comforting flirtation? Is some sex in the face of death.

Crowley says something about grief to Aziraphale that also sounds an awful lot like something someone might say to a lover. The result of the scene is that it has the effect of sounding like Crowley is referencing something once said between them and that was likely something Aziraphale once said to Crowley after a very different sort of "death"-- likely, the first time they performed the The Bullet Catch together.

"It's a bit different when it's someone you know, isn't it?"

So, why does the same music play when Death spreads his wings and when Jesus is nailed to the cross as plays when Crowley and Aziraphale kiss in 2.06? Sex and death. Crowley is death in the sense that he's Aziraphale's death-- and Aziraphale is his.

These two are supposed to be thrilled to bits to one day defeat one another in glorious battle in the final war of Armageddon but they're really in love. They have no desire to hurt one another and every desire to give each other all the pleasure they can. They've developed and enjoy a mutual kink for figuring out increasingly clever and inventive, word-nerdy ways to say they want to fuck each other senseless by way of using words of God, violence, destruction and death to do so, underscoring a theme of sex and death in the Armageddon show.

After all, this is how Crowley once faux-told Aziraphale he wanted to commit murder, so... is it really a stretch? 😉

I'm pretty sure that is about neither goats nor kids, aren't you?

[enthusiasteditor]

What a wonderful date Crowley had in 1941!

Within a few hours he...

Walked on consecrated ground with an epic walk

Saved his love from the Nazis changing the trajectory of a bomb

Made one of the most romantic gestures one can make for Aziraphale (and he touched his hand, of course)

Didn't understand a very explicit proposal (oh my god, Crowley...)

Took his partner to the theater (to sell illegal alcohol, but never mind...)

Saw this beautiful smile (Aziraphale is no stranger to the art of prestidigitation)

Was amazed by the miracles of Mr. British man

Has been a supportive partner

Was so caught up in the love of his life and his enthusiasm that he didn't notice a nazi zombie behind him

Touched again his love's hand

Pretended to volunteer to help his partner

Used a gun for the first time

Brought joy to Aziraphale with their magic trick (he trusted him)

Shared a dressing room with a truly charming magician, an "old friend" and three nazi zombies

Decided to spend his last night on Earth (at least as far as he knew) with Aziraphale, and then he found out that it would not be his last night on Earth

Had a very romantic toast with the love of his life

He had the best time of his Life 🥰

Related post here

Thanks @thavron and @weirdly-specific-but-ok for the suggestion

[tiptopticketyboo]

I saw this cute animated quiz to discover your CosmosPersona (spoiler - it contains cats in space 🐾). My result feels rather accurate especially about daydreaming, speaking in lowercase and self-esteem therefore today I feel it's saying too nice things about me.

In case you'd like to try it out, gently tagging (as always, no pressure, feel free to take part only if you'd like to and also please let me know if you don't want to be tagged anymore because I don't want to bother anyone) @aziraphalesdiaries, @ineffableleo, @thavron, @the-ineffable-dance, @fellthemarvelous and anyone who'd like to take part

[pixiefairy15]

Last line challenge

Rules: in a new post, show the last line you wrote (or drew) and tag as many people as there are words (or as many as you feel like).

Thank you for the tag @thavron!

Crowley was always in the angel's orbit, circling him as the moon to the sun, drawn in by the gravity of him; a friend, a lover, a protector.

Believe it or not this is for a crack fic! I haven't written a ton over the past few weeks but I'm itching to get back to it!

No pressure tags @fellshish @passiveagressivereader-blog

[slurpi13]

Last Line Challenge

Rules: in a new post, show the last line you wrote (or drew) and tag as many people as there are words (or as many as you feel like).

tagged by @thavron

They danced in the streets of Paris, swaying to an accordionist playing one of Aziraphale’s favorite arias in the evening breeze, leaning on each other and stealing kisses.

You caught me off my game. I'm still fiddling with Dreamcatching. Usually, it would've likely been something absolutely filthy, lol.

tagging @ineffablymanic if you want, of course.

[anxilly]

@thavron i feel like this piece of information could be wildly beneficial to your drunk loch ness fic!!!! 😆

There are many benefits to being a marine biologist

[lumiereandcogsworth]

What’s Belle and the fam got him for his birthday this year?

sorry it took me so long to answer this my brain just would not cooperate with this particular question. ANYWAY:

my mind keeps going to the theatre. every time. i think maybe they made plans to go to a performance he really loves. maybe hamlet or maybe something else

could also be that his kiddos put together their own little production and performed it for him and the rest of the fam. which they are often prone to do. very little women of them

adam also reaaallyyyy likes the opera, so i think he and belle go to a performance as well.

beyond theatre, i think his birthday this year was same as always! (wonderful and full of love!!)

there’s always a ball, because he loves a place where he can dress in his favorite outfit and dance with his wife

the ball is usually at their palace in paris, their home away from home, and depending on the kiddos’ ages, they may be there too. (i mean, they’re definitely IN PARIS with adam & belle. i more meant whether or not they attend the BALL depends on their ages)

anyway, i was also thinking about the fic i posted today, that’s his 24th birthday (irrelevant, really, other than the fact that he’s such a young baby) (yes i know i am currently 24. i am aware of my baby adultness) i was thinking about how he & plumette gush about the new suit he’s wearing, and how excited he is to wear it for the ball tonight. it made me imagine a conversation he & belle had earlier in the day, when he was either just about to change into it, or had just done so. and belle suggests that maurice should paint his portrait wearing it, since he loves it so much.

and this is kind of a big deal to him, because he hasn’t had an individual portrait of himself done since they were first coronated. and up until now he really kept insisting on no singular portraits of himself — only ones with belle (and the baby, since at this point, they have a baby!!!) but belle suggests this and he’s like huh. i guess that would be kind of cool. but also i don’t NEED a portrait !!! it’s fine !!!

and belle tells him it’s okay to want a portrait of yourself sometimes. it doesn’t mean you’ve fallen back into your old vain ways. think of it more like you want to remember this suit you love so much!

and well, anyway, i think adam agreeing to that portrait was a good step for him :) so that also happened on his birthday (making that choice, not the actual portrait, of course)

the day probably ended the way every birthday ends for him these days: dancing and laughing with his wife, holding her hand as they return to their bedroom in the small hours, kissing her and kissing her and kissing her… because he’s just so darn happy to live another year.

[vidavalor]

So I’ve been thinking about your metatron is Satan theory and how Crowley, the Angels and Adam see what they expect to see and idly wondering if it’s sort of the same for all demons. We have multiple versions of Crowley and Bildad, and lots of theories as to why, but what if it’s as simple as the various characters see what they expect and so we the viewer see variations? Beez getting a new face may throw a spanner into that idea but it just seems to me that if this is the plot twist in season three then the different versions of Crowley may be a clue… anyhow your meta was brilliant and wanted to toss my poorly thought out 1am musings at you to see what you thought.

Hi there @thavron! Hope you're having a great weekend so far. 💕I've been thinking again about bees a bit as a result of your ask so there is baklava for a honeyed dessert. Love your thoughts-- they've been tickling my brain for a few days now. 😊

If you're meaning: do we all sometimes see people as we want them to be or who we think they are, rather than who they actually are... then, yes, I would say that fits in with the recognition themes the show has going on.

To an extent, we all do this, right? And the show about angels and demons is really about the messy and amazing business of being a person. All the angels and demons are people, just like the humans. We all put on a performance in society to some extent. Our clothes, our grooming choices, how we speak, how we walk, eye contact, body language-- all of this is a performance. It's a construct that we get up every morning and do. Awhile back, we were looking at the choices David Tennant is making when it comes to Crowley's walk in different time periods-- especially when Crowley takes the stage to help Aziraphale in 1941-- and how the walk is representative of how comfortable he feels in society in different eras. That's just one aspect of things but, yeah, we're all showing one face to the world as a whole but those we let in often get to see another one.

I think that, for the most part, this holds true with angels and demons. Satan is an exception to the rule because he's Satan and actually evil so he is capable of the dubious kind of magic that the other characters don't really do. Satan will possess someone without consent, for instance. It's not hard to see that he would steal someone's physical appearance to mask his own as he already stole the voice of Freddie Mercury in S1 (which I also think is another clue to the idea that it's not actually The Metatron at the end of S2, as we've seen Satan do something like this before already.)

I think that the rest of the demons see what we see when they look at one another, on a physical appearance level. As you pointed out, Crowley can see that Beez has a new face in S2 so Crowley sees Beez's physical presentation as how we see Beez's physical presentation. He also can recognize Shax when she's bouncing around humanoid forms outside the bookshop in the mid-part of the season. There are different versions of Crowley because Crowley has lived on Earth forever and is just blending in with different societies (and he also gets bored lol.) I think that's one aspect of the recognition theme in the show because what we see when we look at each other and how that informs our ability to recognize ourselves seems like a big thing in the story.

I think S2 is talking about recognition on several different levels. We have recognition in terms of how every character on the show is really desperate for someone to tell them that they're good and that they're doing a good job. Beez's only solo scene in the whole season is actually about that and it parallels Aziraphale's anger, embarrassment, and frustration over Heaven's treatment of him. Everyone's a bit Norman from S1 who wanted a watch and some kind words and to bugger off and go tend to some marigolds but whose company wouldn't let him go and dragged him into a paintball Armageddon lol.

It's only natural to want recognition, really, as we all want to be noticed and seen for what we do, but it also underscores a bigger theme of that how we see ourselves can impact our ability to fully see others... but also how if we open ourselves up and allow room for curiosity and empathy, our ability to see others as they are allows for more open, honest, communication... and how that's good for all of us. That way lies peace-- both inner peace and peace with others.

In almost every major scene in S2, at least one character is trying to recognize at least one other one in some way and it's often literally recognizing the person. There is no one character in the series who is flawless at this and that's because they're all people representing us and none of us are flawless at this, are we? At recognizing ourselves or at fully seeing others at times without our own bullshit getting in the way? Even those of us who consciously try to be open, empathetic people struggle with this because we're people. The angels and demons are no better or worse than any of the humans and their story is actually about the messy but amazing business of being a person, which they all are.

If and how the characters recognize others around them in S2 reflects how those characters see themselves and the world around them. It's a matter of perspective and it's not one-sided because how we present ourselves to the world reflects what we're willing to share and sets up expectations that some others might take at face value but that might not be true. Other, more open-minded people might be able to see through those walls, though, if they're in a place to do so.

Ineffable Bureaucracy are the cleanest example of this (and one of the funniest) because here you have in Gabriel a character that you don't expect would be as open-minded as he is. In a lot of scenes in S1, we saw him putting on airs to cover up his curiosity and empathy as a means to survive. Yet, he has one of the smoothest recognition challenges in S2.

At first, he doesn't recognize Beez with their new face but, once it's established that this is the being he likes greatly, he doesn't think twice about it. Gabriel looks like the kind of guy who would care about appearance of others because he's a bit vain about his own but he literally could give a fuck that his partner changed up their face because what matters to him more is that it was the same person inside.

The guy who seems like the shallowest character on the show-- and, in some ways, is-- is actually also one of the least shallow. He also knew without question that he could trust Aziraphale and Crowley and went to them for help intuitively, even without consciously remembering them. Gabriel is actually a pretty good judge of character, all things considered. In S2, we learn more about him and as the characters recognize that he might not be quite who they thought he was, it's on us to see that we can think that, too. Our perspectives can evolve with a bit of empathy.

Lord Beezlebub also shows that they can be good at recognizing truth in others, too. One of the best moments of recognition in S2 is when Beez sees Gabriel's vanity for the loneliness that it masks when he takes them to see the statue of himself. Most of us, honestly, would probably run screaming from a guy who took us to show us art of himself and bragged about how beautiful it was but Beez gets it. They see Gabriel then even more than he sees himself a bit. They see that he really took them here because the statue is all he feels he is to people and he's being crushed under the weight of being revered like a god by humans and angels alike. He's just a lonely dude with no friends and more heart than he lets on.

The statue scene is also the punchline to the joke started earlier in the season during The Resurrectionist minisode, though, right?It calls back to Crowley saying that Gabriel probably came to the statue to "stare at it for hours" and "marvel at his own beauty." Crowley wasn't wrong, exactly, but he also wasn't fully correct, either. He didn't understand totally why Gabriel might really come to the statue, which Beez later would understand.

Crowley is one of the best judges of character in the series but S2 showed just how much his blindspot is his trauma, like it is for a lot of people. Crowley took almost the whole season to see Gabriel for who he is and he had reason to distrust him, sure. His fear of the situation is reasonable and understandable but it also shows a narrowed perspective. It showed how it was hard for Crowley to admit to himself that maybe Gabriel has been as trapped as he and Aziraphale have been-- that maybe he's as much of a victim and a survivor of all of this as they are-- because they've spent so long ascribing blame to him instead of considering that maybe he, also, had no way out. Recognizing Gabriel means Crowley recognizing and dealing with aspects of his trauma that he'd sometimes rather avoid, which made it harder and caused it to take longer for the two of them to get to a point of actually talking. When they do, we see them recognizing each other's suffering and showing each other empathy. The end of S1 is Crowley spitting hellfire in Gabriel's face but the end of S2 is just him all ugh ok fine...

Growth lol.

We also see how history can provide context that can inform the ability to recognize others as well. Aziraphale has a longer, more complicated history with Gabriel than Crowley does. Aziraphale had more reason to suspect that there could be more to Gabriel than he always let everyone see, especially since there are a couple of scenes in S1 without Crowley but between just Gabriel and Aziraphale (the sushi restaurant and the Sandalphon exchange at the bookshop) where it seems like Gabriel is trying to protect Aziraphale as best he knows how and that Aziraphale seems aware that he's trying to do that. It's how Aziraphale arrives first at "I don't think he has any friends" and thinking that Gabriel needed him and Crowley, especially since he had shown up alone and vulnerable.

Aziraphale also sees the benefit of trying to get Gabriel and Crowley to talk to one another-- not in a would-benefit-Heaven-and-Hell sort of way, just in the sense that they are more alike than they realize and had been through similar things. That's a form of recognition as well-- acknowledgement of a person's pain and needs when they've not had that from others. Aziraphale is proven correct and his ability to see both Crowley and Gabriel for who they are and who they can be is admirable and shows his empathy and open-mindedness.

But mah point is that it's scene after scene of recognition... Gabriel's entire plot. Muriel shows up at the door, doesn't recognize Aziraphale. Crowley can't remember (or chooses to pretend he can't remember) Furfur and Saraqael. Michael almost recognizes Gabriel in the bookshop. Shax is desperate for Satan's recognition for her job performance-- but also for Crowley's attention. Mr. Brown of Brown's World of Carpets wants everyone to see him as a leader. Maggie feels unlovable and just wants Nina to notice her, all while failing to recognize that what Nina wants is for someone to notice that she's in pain and to lend her support... this is all off of the end of S1 and the body swap plot in which Crowley and Aziraphale literally stayed alive by being able to recognize one another on different levels so astutely that they could impersonate one another. (Another hint, imho, that maybe the mirrored end of S2 might feature another character who seems like one character we know but who is actually another with The Metatron-is-actually-Satan idea.)

Even the little moments of the season have recognition woven into them. Do we know a Jim?, Maggie and Nina's first scene is kicked off by Nina recognizing Maggie as a regular and remembering her coffee order...

Maybe the sweetest moment of the whole season is a scene highlighting Aziraphale's struggles with reconciling his own needs in the face of having been taught he's not to want anything for himself and Crowley recognizing that struggle and supporting Aziraphale by telling him he's already perfect as he is. Damn straight I'm including the gifs I love this damn scene lol..

But the big scene that parallels the arrival of "The Metatron" in The Final 15 is the angels failing to recognize Bildad the Shuite coming through the door, right?

When Crowley comes in as Bildad the Shuite to the group scene in the Job minisode, Gabriel, Michael and the other angels fail to recognize Bildad as Crowley entirely because of the things Crowley later explained to Muriel as his analogy around bees. The idea is that context, imagination and ego inform our ability to recognize someone (and also ourselves.)

Contextually, it made more sense to the angels in that moment for Bildad to be some weird human than it did for him to be a demon working to save the lives of Job's children. This is one of the main reasons why the angels don't recognize Crowley-- they simply don't see a scenario where there would be someone to recognize. It's just like how Michael initially doesn't assume that the person who comes through the door in 2.06 could be anyone they should care about-- because they're on Earth, in a bookshop that is open to the public, so the unexpected person who came through the door must be a human person shopping for books.

Context also includes appearance and one of the things I loved about the other angels failing to realize that they know Bildad is how it contrasts with my favorite bit of recognition in S2-- Aziraphale instantly recognizing Crowley from a distance, after over 500 years, and with Crowley looking completely different. The second Aziraphale actually looks at the demon he's telling to avaunt! on outta there, he knows it's Crowley. The jump from the Crowley of The Flood to Bildad the Shuite is huge. Crowley even has sunglasses on for the first time chronologically in the scene and Aziraphale's just like "it's you." He would recognize the love of his life anywhere.

As far as the ego part goes, all Gabriel cared about in the Job minisode was a scenario that didn't undermine him and which got all the boxes checked on their assignment so when Crowley and Aziraphale present him with that, Gabriel is happy to shut down any minor opposition to the truth to go with what he is presented with-- in large part because of ego. Aziraphale and Crowley flatter Gabriel into submission to their plan. Gabriel eats it up and because he has the power in the scene, Michael's suspicions are not given credence for more than a moment.

Michael also lacks the imagination to figure out what could actually be going on and takes what they're told is the truth too easily because, like most know-it-alls, they actually don't really feel like they know anything. They defaulted to Gabriel's "they can come at any size" comment so easily not just because he had the power in the scene but because they suddenly doubted themselves and let someone else tell them how they were to think.

Michael's lack of imagination and tendency towards purely literal thinking is also on display when they are shown to not understand Crowley's shoes joke. They sense shenanigans are afoot but don't exactly know how and they also seek to look impressive to the boss so they jump in that "'Shuite', of course, means 'from the land of 'Shua'," which is correct. It does mean that. Michael is not wrong but they just are so sheltered by life in Heaven and so lacking in imagination that they also lack sense of humor enough to hear the homophony in Shuite/Shoes. The only angel who gets the joke is, of course, Aziraphale.

So, a lack of imagination (which is also a lack of big picture and creative thinking), a reliance upon context, and the perils of ego are why the angels didn't recognize Bildad as Crowley in 2500 BC and are also what Crowley is explaining to Muriel with his bees analogy.

It wouldn't actually occur to the angels as possible that there could just be a demon roaming around in Heaven because they're all too caught up in themselves to consider the possibility, right? To admit that it's possible is to admit that maybe they themselves are fallible and don't know everything. Angels are taught that they are near to perfection and should behave in that way so it's hard to think of themselves as having weaknesses that might need to be addressed. They all know they do have them but they can't admit it or they're admitting at failing to live up to the impossible standards of Heaven.

Many of us have trouble admitting that the point is that we're all here to learn and be curious and we aren't meant to know everything and that things would be less fun if we did. We struggle to admit when we've gotten something-- or someone-- wrong. People who have an inability to see a bigger picture are also sometimes blocked from doing so by their own trauma and issues-- as Crowley himself proves.

Sometimes, people just aren't that imaginative or haven't had the opportunity to use their imagination, as Crowley sees in the angels. The point is that none of us are perfect in our ability to recognize ourselves and those around us. If we all just continue to try to do so and keep a curious, open mind about each other, though, it leads to more peace for everyone. It means we're talking to each other more, which is the healthy way forward.

So, if the whole season is using these characters to talk about our ability to see ourselves and others and if it has us watch scene after scene of recognition or lack thereof between the characters where we feel like these characters might not know what's up but we sure do, right?...

...we knew Gabriel was telling the truth about his memory loss... we knew the Inspector Constable at the door was the angel from the Job minisode... we recognized Lord Beezlebub with a new face... we definitely knew who came through the door and called himself "Bildad the Shuite"...

...wouldn't it then be a kicker if the end of that season is to prove the point by showing us that we're all actually as infallible as these characters are? That we're all bees, too?

And how would they do that?

Possibly by presenting us with a character we think we can recognize but which, if we look a little closer, we might realize is not quite who he seems to be.

[gypsi-kat01]

Waiting.

Today is as grey as yesterday and tomorrow forecasts rain.

I arted. My first proper digital painting on Procreate, to go with my Second Coming fanfiction that I will one day finish.

[lumiereandcogsworth]

I love the idea that Adam still has angry beast tendencies. Like, he’s much better at keeping his temper and maintaining social graces, but only up until a point. If anyone insults his Belle or is rude to his staff, he can go full beast mode (metaphorically speaking) obscenely quickly. It’s a quieter fury which would make it more sinister I think. On a good night he’s all charm and smiles, but after the day is done he’ll vent to Belle who will sooth him until he’s all smiles and cuddle again. This may seem like a spontaneous head canon dump but it’s response to your “he’s a bit cunty” tag 😆

NO DUDE YES EXACTLY!!!!!!!! i think about that all the time. like he’s so aggressively loyal to belle and his found family staff and it absolutely comes out in such a sinister way. like when he finds out that someone at a ball was rude to his beloved?? all hell breaks loose.

i also have a ~plot~ that i’ve never fully written, it’s more just a storyline i like to play out in my head sometimes, where someone was SO disrespectful about belle talking TO ADAM that adam just loses it and clocks the guy right in the nose. and it’s such a spectacle and adam is honestly stunned at his own actions. like he’s LIVID but he’s also immediately terrified because belle witnessed it and he never wanted her to see him lose his temper again. so he quickly leaves the room and belle runs after him.

he’s shaking and angry at the situation and himself and belle comes in asking if he’s okay but he just keeps backing away from her because he doesn’t trust himself and he feels so ashamed for letting her see that. eventually belle manages to get him to sit down so she can tend to his bloody knuckles (YEAH) and he apologizes and she says he has nothing to apologize for. she knows he wouldn’t just do that on a whim. she knows it was warranted. and it was but adam just feels so sjdkdjfk.

anyway you’re so right dude. amen brother. i love it. because YEAH LIKE??? sure he’s changed and grown but you don’t just snap your fingers and remove a temper like that lmao. he learns to manage it better (over time, with belle’s help) but yeah of course it’s still going to come out in quiet, vicious ways. he’s always going to be just a bit cunty!!! i love that bitch.

like especially in social settings i think he’s suuuuch a bitch lmao. like you said he keeps social graces generally speaking but in certain circles, at certain events, he really goes off sometimes. gosh i love him. and of course he’s absolutely the worst gossip of them all. there’s a fic i have in my drafts of him corrupting belle and getting her into gossip. she’s like adam no that’s not nice!! and he’s like “but you must admit they WERE acting rather odd this evening. surely something Must be going on ;)” and belle’s like “….MAYBE BUT THIS ISNT NICE!!” it’s very cute lmao.

[thavron]

Ben doesn’t like it when I give attention to other demons.

[thavron]

I don't usually do this but I am super proud of this one. Be sure to read CW and TW though.

A teenage Aziraphale finds a book that releases a creature of infinite power into the world. He could ask for almost anything his heart desires, but mostly he just wants a friend.

“Hello.” Says the voice. It belongs to a creature. On the surface, it looks human; long-limbed and slender, red-haired and swathed in black. But it is not human. It lounges across the ceiling, boneless and indifferent, its eyes flash yellow like a snake. Its wrists are bound in hoops of gold.

“You’re just a dream,” Aziraphale says, sounding certain in the way only teenagers can be, but he trembles nonetheless.

“Am I now?”

“Yes.”

“Are you sure?”

Aziraphale isn’t sure.

omg it’s FAN FICTION FRIDAY

Reblog and promote a fic of yours <3

[lumiereandcogsworth]

22, 24, 40. I think I know the answer to number 1 but I'll ask that too because I know how much you like to write about them 😆

1. who is/are your comfort character(s)? oh golly my friend you spoil me!!!!! hehehe. well of course my comfort characters are adam and belle. and honestly i would include belle’s father maurice as well because i go through those periods of time where i am just fully only thinking about him. it’s like adam and belle go on some fancy little trip or something and my brain just stays home and latches onto maurice while they’re away LMAO. maurice is just so sweet and carries so much trauma and guilt in him and i love exploring it. how wonderful his time was with maria and then how quickly it was all snatched away from him… him raising his daughter all on his own and just DEALING with life. AGH. i love that guy.

but anyway, adam is definitely number one. i connect to him in so many ways (even beyond my own understanding) and i just. love him so much. like he’s just in my HEAD. 90% of my fics are just accidentally from his perspective. like i try to keep it neutral between the two of them but it always ends up being more in his head than belle’s. adam’s my homeboy he’s my lad he’s my sweet cheese!!! i’m endlessly defensive of him to the rest of the world and constantly proud of him in his own. his growth and learning to trust the goodness in his life, after all the shittiness he’s experienced, it’s just So Good.

i also love belle so so so much!!! SO MUCH!!! i just posted a character study about her becoming a queen and wife and mother when she never remotely imagined she’d get to be those things and just like. exploring her thoughts on it. and it was really fun!! i DO have big thoughts about her!! i also connect to her A LOT, she’s such a wonderful character and i hope to continue exploring her. she’s brilliant and kind but she’s also got this thorny sadness to her that makes it even more compelling. she’s not as perfect as adam thinks she is. that’s why they need each other so much! they’re both hurt from their pasts, from being isolated and feeling like no one in the world understood them, and now they have each other and it’s just!!!! AHHH.

22. what type of person are you? oh man i definitely don’t have the self-awareness to answer that. i’m… hopefully good? i think i’m very loyal… maybe funny sometimes? i don’t like socializing at all (it’s the autism) so i am probably something of a loner. though i also feel quite lonely at times. feel like no one understands me but that’s no one’s fault, i just don’t understand myself. hm. anyway i’ll move on before this turns into a therapy session.

24. if we were together on a rooftop, what would we be doing? i think we’d be eating some sort of fast food and maybe a movie would be playing on a laptop. we’d have blankets on and our laughter from the movie would echo out to the rest of the cityscape.

40. did you have any snacks today? well not yet i just woke up!! last night though i ate some cheese puffs which are among my absolute favorite snacks <3

weird asks!