#wait is this crowley coded
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roxiesharpe · 7 months ago
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Do we like the black and white or color version more?
🖤🧡
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idliketobeatree · 9 months ago
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the single most relatable Aziraphale trait is that he's completely convinced of his love for people but it's all rebutted the second a customer walks into his shop
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lesbicosmos · 1 year ago
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can't believe we're getting them back IN A WEEK‼️
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p4nishers · 1 year ago
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she's so me we're copy pastes of each other we're twins born from the same womb neil stole my brain and is keeping it in a jar for inspiration she's with me in weird subliminal ways i talk to her in my head
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mangoyakult · 1 year ago
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hole4edwardnygma · 1 year ago
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I need a crowley edit to Phoebe Bridgers waiting room on my desk by the morning I need it injected strait into my veins
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finaltennessee · 1 year ago
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Crowley saying he needs to talk now or he won’t talk at all and then struggling not to cry while he FINALLY talks about his feelings??? he just like me frfr
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girlsuccess42 · 1 year ago
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strongly believe that good omens two should’ve ended exactly like jennifers body: with hole screaming ‘YOU SHOULD LEARN HOW TO SAY NO’ over the credits
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rcreveal · 4 months ago
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Static Breakthrough
This short one-shot takes place in some time when Crowley feels he’s lost Aziraphale and is both turning away from the world while staying put on it.  Prompt: the “invisible unbreakable line between Crowley and Aziraphale.”
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Hands and arms moving a steering wheel fighting back against the physics of centripetal and centrifugal forces, legs working the gears and levers of shifting, adding force, adding friction, road unspooling ahead, wind whirring against the windows, engine noises a steady roar. Driving, for hours, away from London, away from Soho, away from the Bookshop, but not away from the memory of the angel’s face, until even that is mercifully swallowed by the white noise that has taken the place of his mind.  
Driving, until the Bentley…stops.  Whatever has powered it absent.  Empty and impulseless, the black car rolls and bumps and coasts to a stop on the side of a lane somewhere barren and north.
Crowley opens the door and steps out, keys forgotten in the ignition.  Walking away, not even closing the door as he steps down into a ditch, up over a little stone wall and onto rough hummocks of grass.
His city shoes, not suited for this rough country, slip and slide over the uneven terrain until he takes them off.  Smoothly hooking a finger one at a time into the footwear, hardly breaking stride.  Discarding each shoe without a backwards glance.  Fine scales shine across the nearly white skin of his feet as he heads towards the gray mountains in front of him.  Light colors the high clouds in the blue sky, shifting and changing until the clouds match his red hair and amber eyes.  Steadily, his feet carry him up a valley towards ever higher slopes ahead.  Onward, he walks til the ever increasing slope forces him to scramble, then climb, body moving ever upwards as dusk settles around him.  The world shifts from sharp focus to softer outlines until darkness prevails and everything behind him falls away into shadow.  And still, he climbs.
The neutral smell of stone rises up, borne on the radiating heat of rock recently under sunlight, rock warm and unyielding, rough and reassuringly solid under his fingers and toes. 
Behind his eyes only white noise and static except for the movement upward, choosing a route, moving from handhold to handhold, ever upward.  Yawning emptiness around and inside him ignored in the pull of muscle on bone, subsumed by flowing ever upwards.
Stars prick the sky as dusk turns to full dark, slowly wheeling overhead as he climbs into a dome of starlight, cool breezes pouring down the mountain like invisible streams over and around him. The moon rises, casting silver shadows across the rock face and lighting the mist far down in the valley below before setting as he climbs on.
In the deep quiet of the night, pregnant with the birth of another day, not dawn, but the darkest moment when the world decides again and again to turn towards light, he steps onto the summit.  Cold air pulled deeply into lungs fully used to fuel the muscles pulling tendon and bone, pumping a heart, allowing these eyes to see the stars.
In his head the static keeps recent memories closed off, hidden, unheard.  But not his appreciation of the play of force and movement happening far away, soothing in its reliability.  Laying on the summit, he is in the center of a globe of firmament swinging through space on a chunk of barely solid rock captured by the gravity of a flaming star.
Soon the stars begin to fade, the arm of a galaxy no longer trailing across his sight, the eastern sky brightening, til the local star’s dominant light crests the brim of the world.  Blinking occasionally, he watches the arc of light travel over him fading once more in the west that he may rest in a globe of night again.
Untroubled by thought, he still feels cold bite his skin then sun warm it.  Wind and rain and sun tatter his clothing further.  Days pass fretfully, with only evaporation, condensation, and precipitation to observe and the slowly shifting arc of light wobbling northward, but in the nights he feels embraced in starlight, observing the reliable relationship of mass and spin until even that cannot hold his attention.
Letting his sense of time speed up until daylight and darkness seemed to rotate, one following the other like a lighthouse beacon, he notices a green flash at sunset each night.  The brief green phenomenon resolving into different lengths each day, forming another repeating pattern:  dah di dah dit dah dah di dah.  Repeating and repeating, some niggling sense of familiarity making him pay more attention to the pattern until the short and long flashes translate into another pattern in his mind: CQCQCQ.
When his awareness of time sees days pass in moments, his consciousness tuned to the flash, the pattern changes: CQCQCQDEAZF143AJC CQ CQ CQ DEAZF143AJC CQ CQ CQ DE AZF143AJC CQ, CQ, CQ DE AZF 143 AJC CQ, CQ, CQ DE AZF 143 AJC 143 143 143
Somehow this message, stronger than the protective static, stronger than physical laws of mass and gravity pulls him from the bed of rock.   The speeding passage of day and night rotating to a stop in a vault of starlight once again.  Standing on the summit with black strips of tattered clothing brushing against his ivory skin, he aligns to that message.  
Crowley steps over the precipice, moving along the frequency of the flash, shifting from plummeting mass to some other essence.
Is he flying or falling?
What will prevail? 
Gravity’s earnest pull or this other force?
For Crowley, there is no doubt which is the stronger.
*In Morse code CQ is seek you, DE from and 143 shorthand for ‘I love you ‘  Stations have codes which I abbreviated for Aziraphale AZF and Crowley AJC. Someone hoping to talk to another can use CQ CQ CQ DE AZF as the signal for requesting to talk with listening stations designating the signal as from a certain station (DE AZF). I'm making free with the code system here by having Aziraphale hoping that there's only one very important person who might notice his message.
While it's probably not the best idea to tell your beloved that you love them in an esoteric code transmitted by the ‘green flash' phenomenon at sunset, I can imagine Aziraphale searching for Crowley using his love of old and esoteric things, their history of coded communication, and Crowley's history of star engineering.
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glitterarygetsit · 1 year ago
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Oh, I think she was just giving us a hint or two about what Crowley might get up to in s3:
When I said I needed you You said you would always stay It wasn't me who changed but you and now you've gone away Don't you see that now you've gone And I'm left here on my own That I have to follow you and beg you to come home
Are you trying to tell me Maggie put on 'You Don't Have To Say You Love Me' by Dusty Springfield to play in her shop the day after being rejected by Nina? Does she like the pain???
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ineffablyruined · 1 year ago
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Okay, this post has me thinking.
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What if those totally Aziracrow-coded suits are a Clue for not only what's coming at the end of S2E6, but I'm hopeful that it's about their future, too. Because look at them. LOOK AT THEM.
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They are even separated by the window pane! The art department is so crazy for this.
We've got a beautiful black suit, perfectly tailored, absolutely stunning, and ready to go. Then we have Crowley. Beautiful, knows who he is outside of Heaven and Hell. Knows what he wants (Aziraphale, obviously). He's ready for the garden, ready for their cottage in the South Downs.
And we've got a light colored suit, that still seems to be in-process of getting ready. Hard to tell from this image, but it looks like it still has an unfinished collar, and is waiting for a sleeve to be sown on? It's not finished yet, but it's getting there. If that's not Aziraphale, I don't know what is. He knows he wants Crowley, but he can't quite separate himself from Heaven. He needs to go back and learn more about himself, to realize he doesn't fit there, that Heaven isn't the place for him any longer. And then maybe he'll be ready, too.
The suits are a METAPHOR.
This show kills me with every single detail.
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melbatron5000 · 8 months ago
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It's a 2-man Con
Listen, I think I know a thing.
When Aziraphale comes back from talking to the Metatron and is telling Crowley about being an angel, we've all heard the theory that he's speaking code, trying to ask for help. The more I look at that scene, the more that theory tracks.
Maybe less well-known is the theory that Crowley didn't miss a damn thing, he's answering in his own code. And again, the more I look at that scene, the more this also tracks.
(When my husband, annoyingly observant beloved partner that he is, saw the second season for the first time, he said, "That whole thing was a show for the Metatron. They have a plan. Crowley slipped something to Aziraphale when he kissed him." And I said, "Nah." But now I think he's right, and damn if he isn't smug.)
I'm gonna try to break down what I think they're saying here, because it takes just a hot minute to piece it together. I've been thinking this over for a couple of months now. I think I have most of it. I just don't know when Crowley puts whatever he's handing to Aziraphale in his own mouth. I need more eagle-y eyes, it seems.
First, Aziraphale comes back from his talk. He's pensive as he crosses the road, and anxious when he starts talking, and mouths "I need help!" as he's talking. He's acting like he does when he lies to the other angels, and once it's seen "I need help!" is pretty clear.
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He does the whole thing about telling Crowley he could appoint him as an angel, like old times, but even nicer. It's all very uptight and not positive at all. My interpretation? "The Metatron is here, I think he knows we're up to something, we have to go to Heaven right now and put things right before he really does something awful to one or both of us. The time to spring the plan is NOW."
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Crowley stares at him. At first it seems like he's staring in disbelief, but if you really look at his face, he's listening, hard, and interpreting as fast as he can:
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He asks Aziraphale if he told the Metatron where he could stick it, then. My interpretation? "The plan has changed. I can't go with you to Heaven. You'll have to go alone."
Then Crowley starts his confession -- "We've spent our existence pretending we aren't."
Aziraphale looks at him -- not with shock, or surprise, or love, or hope, but with a "Why are you doing this now?" face. Not "Why did you wait til now to tell me, you love me, oh, I love you too!" But "Why are you telling me SOMETHING I ALREADY KNOW while our ENEMY IS LISTENING??" :
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He's confused, but also listening and interpreting. What I'm hearing/seeing: I don't think this is a love confession from our demon. I think they are both well aware they love one another. They can't say it in so many words, and it's a secret from Heaven and Hell, but it's not a secret between them. I'm hearing Crowley set the scene. "The Metatron either wants us together in Heaven under control, or separated. I have things I have to do here or the plan won't work, so we'll have to separate. We need to make it look good. I do love you."
I don't think Aziraphale likes this change of plan. And Crowley can't detail why the plan has changed, not with the Metatron listening. So Aziraphale insists, come with me. The plan we had will work. Do it my way. Crowley says, "You can't leave this book shop." It's easy to interpret that as "You can't leave me," but I don't think it's that. He's saying something about the book shop being safe, or even that he can't leave without whatever they've hidden in the book shop. (I THINK THEY HID SOMETHING IN THE BOOK SHOP!) Aziraphale says, "Nothing lasts forever." I hear him saying the book shop is no longer safe, and they have to move/take whatever they've hidden and they can't speak freely there anymore.
Crowley replies, "No I suppose it doesn't. Good luck." He's gotten that much, but he is still set on his "We need to fake a break up because I can't go with you."
Aziraphale still doesn't like that. "Come back! I need you!" He's scared. Whatever he has to do in Heaven is big, and scary, and he needs and wants Crowley with him. He does not want to go into the mouth of danger alone.
This is when we get, "No nightingales." What I'm hearing? ESPECIALLY since if you listen, you can hear a LARK sing as Crowley goes out the door? It's the line from Romeo and Juliet, by Shakespeare, whose plays they both enjoy, though Crowley prefers the funny ones. "It's too late, that's a lark singing the dawn, not a nightingale singing to the night, we have to part. Our happy ending isn't yet."
Then the kiss. I do not believe this is their first kiss. I don't believe they've allowed themselves many, maybe not even more than one, but I do think they've kissed before. I'm not sure when, but I suspect 1941. (Season 3, come ON!!)
And when they part, Aziraphale stops himself from saying "I love you," and instead says, "I forgive you." I'm hearing so many things in that "I forgive you." I forgive you for leaving me on my own, I forgive you for hurting my feelings like this, I forgive you for changing the plan without telling me, I forgive you because you are forgivable whatever anyone else says, I forgive you because that's what I said when we split up at the bandstand and everything was okay in the end and I hope hope hope that everything will be okay in the end this time too.
Crowley says, "Don't bother." I'm hearing, "yeah, I hope it's all okay, too. Wish me fuckin luck. My part will be hard, too."
And as Crowley leaves, Aziraphale mouths, "No." And we hear a lark sing. A lark, singing to the dawn, and so fair Romeo must away.
Just because the break up is a ruse, doesn't mean it doesn't hurt and isn't hard. It has to look real, and so it's going to feel real, too. Ouch. :'(
And then Aziraphale touches his lips. Not once, but twice. My bad, he only touches his lips once. The first long second is pure emotion. "Why now, I hate this, I want that so badly and I can't have it."
After that, though --
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After he pulls himself together a bit, he has a bulge in his cheek. He shifts his jaw to move whatever he has in his mouth to his lips, and then his first two fingers go stiff for a moment as he palms something right before he takes his hand away.
And then, this.
Edit to add: someone on Facebook asked me why a kiss to pass whatever Crowley gave to Aziraphale, why not palm it or drop it in his pocket?
My answers: 1. The kiss is a message. "We're still good, I still love you, I still want this." 2. The item is too important to be dropped in a pocket and hopefully found later. 3. The Metatron is paying WAY too close attention, and will definitely see them touch hands. Seeing a kiss and the angel rejecting the demon, though? Well, the demon forced that kiss on him, the angel didn't want it. Clearly the demon thinks this relationship is different than it is. It's a bigger gesture that sells the ruse. 4. Houdini's wife used to pass him the keys to his cuffs with a kiss before the show. This is a message that magic-loving Aziraphale WILL understand: here are the keys to your cuffs, sneaked to you by your beloved in plain sight.
That's it. That's what I got so far. I still have questions.
What did Crowley pass to Aziraphale? What's the plan? Why did it change? What does Crowley need to do that he can't go to Heaven again?
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regressionworldz · 10 months ago
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I think it was about time I drew some CG!Aziraphale and Little!Crowley, I honestly can't get enough of them, especially since Crowley is clearly so baby coded, I can't wait for the next season!
On another note, I know you guys have been wanting me to provide headcanons on some of these characters, so I've decided to compile a small list for them! If you guys enjoy these headcanons, I'll try doing more for other characters.
GOOD OMENS AGERE HEADCANONS!
Aziraphale discovered that Crowley had been a regressor in the last 100, perhaps 200 years, around the 1800s era. Prior to that period, Crowley had been a regressor but kept it a secret, showing little concern for himself.
He unintentionally regressed and faced significant challenges in reclaiming his former self. Aziraphale likely perceived it as a panic attack, a common occurrence for Crowley and a factor that increased the likelihood of his regression.
He becomes extremely sensitive to pain during regression, yet he makes an effort to conceal it. Even a minor injury like pricking his finger prompts tears and shakiness, but he refrains from admitting the pain. This sensitivity stems from the trauma of the angelic fall, where angels experience pain for the first time, and the impact of the descent can leave their bodies broken for hours or even days. While Crowley may have felt pain as a human, the fall marked the first instance he truly felt vulnerable and weak.
Snakes have limited color vision, primarily perceiving shades of blue and green (though there might be some variation). Recognizing this, Aziraphale purchases and knits toys for Crowley within that specific color range.
During regression, Crowley opts for a more concise term, referring to Aziraphale simply as 'angel.' Occasionally, he might use 'papa,' though it occurs less frequently.
When Crowley is happy, he engages in vocal stims, emitting squeals or spontaneous, joyful noises.
Crowley holds a preference for snakes as his favorite animal, yet he appreciates any plushie he receives, with a particular fondness for sheep and goats.
Crowley typically sheds tears either upon waking up or at the onset of regression. Throughout the rest of the time, he makes an effort to suppress his tears. When upset, he opts for deep breaths as a coping mechanism, consciously avoiding crying. However, this emotional suppression can lead to him becoming worked up.
While regressed, Aziraphale assists Crowley in tending to his plants. However, later on, Crowley becomes frustrated with himself for being kind to his plants, expressing displeasure with the unexpected benevolence.
During Crowley's regression, Aziraphale is inclined to prepare warm meals for him. Although Crowley doesn't eat often, he readily indulges in meals provided by Aziraphale.
Crowley has a star mobile above his crib that Aziraphale added, allowing him to gaze at the stars, a simple joy that consistently brings him happiness.
Hope you guys enjoyed some of these papa azi and little crowley headcanons!
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catcatb0y · 2 years ago
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If it is not a creator explicitly saying/hinting that there will be queer content: it's not queerbaiting.
Remeber the Voltron (Legendary Defenders) cast? How everyone hyped up the existence of a theoretical queer couple? How the writers promised a gay character (with gay conent)? THAT was queerbaiting.
Legend of Korra building up ~tension~ between Korra and Asami, only to end the series with them holding hands and looking off into the distance? NOT queerbaiting (and they had to fight really hard to get even just that)
Disney releasing their 'first gay character' every couple months and MARKETING that? Queerbaiting!
Nintendo's new Mario movie having some... interesting tension between Bowser and Luigi? Not Queerbaiting.
Queer CODING is not Queer BAITING.
Queer Baiting is a MARKETING TECHNIQUE that promises hints of queer or LGBT content... only for it to often be seconds long, between background characters, killed off, or some variation of all of those.
The fact that Neil Gaiman isn't pspspsing all of Tumblr saying, "Did you hear about Crowley and Aizaraphel?" means that already: it's not queerbaiting. Neil Gaiman constantly enforcing his boundaries (keep your headcanons to yourself) means that already? It's not queerbaiting.
Even in the instance that he did- or you felt like he implied queer romantic content- you shouldn't be asking to begin with! It's not Neil Gaiman's job to market the new Good Omens season. Therefore, anything he says is not queerbaiting. He's just a writer. Who happens to be on Tumblr. And sometimes gets questions about his books and the creative outsources that they get made into.
Neil Gaiman has dozens of posts openly endorsing headcanons- from Crowley and Aizaraphel being trans or nonbinary ('well they don't have human forms, so technically it's up to you'), them being aro/ace or in a QPR, them being romantic partners-
Neil Gaiman is right! Series should be enjoyed through headcanons.
If you have to hound the fucking creator in hopes that there is queer content, it's already NOT QUEERBAITING.
Hi I hope you’re okay i just wanted to ask since you said good omens season 2 will be ‘gentle and romantic’ – does that mean Crowley and Aziraphale are going to be explicitly together, or are you going to keep the “obvious but not explicit” vibe to their dynamic?
I didn't say that the romance would be between Crowley and Aziraphale.
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thavron · 1 year ago
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So I think I've cracked this moment.
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So this moment has bothered me. I've seen several people say this is Crowley breaking up with Aziraphale, but I think it has a different meaning. I think he's saying, "I understand."
Hear me out.
It was actually listening to the song Good Old Fashioned Lover Boy that caused me to have a little epiphany. I love how it's juxtaposed over Crowley rushing back to Aziraphale, indicating that he is the Good Old Fashioned Lover Boy, but there is more to it.
That song was released in 1976, which is a time when being gay or being queer of any kind was deeply frowned upon. Though laws in the UK banning same sex relationships had been lifted by this time, for consenting adults over the age of 21. Freddie explicitly coming out at this time was something that could have ended his career. Freddie danced with the media on this one, hinted but was never forthright and kept his romantic life largely under wraps. This is something that queer people did in general and had to do well into the 90s. They flirted in code, they romanced behind closed doors. They kept their love out of sight.
Much like our Ineffable Husbands.
Editing to add- that the reason this triggered something for me, is that despite the secrecy, Freddie Mercury got up on stage and sang a song about a man taking another man out on a date at the Ritz. Everyone knew. Just no one knew knew. And it wasn't enough to end his career. Much like our Ineffable Husbands. Everyone knows, including them. Just no one says a thing about it.
Which brings me back to A Nightingale Sang in Berkeley Square.
This song is about one magical night. A couple meet, fall in love, feel the magic of their romance, and then as the sun comes up they go home. It is something like a dream that has to be let go with the harsh light of day. But there is hope, because sometimes they can hear the echo of the nightingale. A promise perhaps to meet again.
So I think it is widely assumed that there is more to the 1941 flashback. I tend to concur. I think we will see the origin of why this song is important to them. I suspect the song is about them. They have one magical night, where they are both brave and express their love for each other. But then the sun comes up and they realise that they have to go back to their lives. I think they will acknowledge that the incident with the zombies was a close call, and they need to cool off and stay away from each other. Slow down.
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So 1967 is the first time they have seen each other since. They both know how they feel, they're just waiting for the right time. They shouldn't have met at all, except Aziraphale wants to give Crowley the holy water. I think that explains the awkwardness but also their softness toward each other. It's a meeting of lovers, but the time isn't right just yet. No nightingales are singing. That's what Aziraphale means by "You go too fast for me." Not yet, it's too soon. We're still under suspicion.
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So the end of season one, the world is not over and our ineffable husbands are free. What do they do? They go for date at the Ritz. You can not tell me this is not a date. Sorry, don't believe you. "The Ritz is the most romantic hotel in the world." It's like their whole selling point. It's why it pops up in the lyrics of Berkley Square, and also in the lyrics of Good Old Fashioned Lover Boy. It's the place where magic happens. And for me, the playing of the song, and the reference from God herself, it's saying the time is right. They can finally be together again. This is their moment.
So Season Two. I've read reviews of season two where people liken it to fanfiction. Neil calls it is a bridge season. I think it's the dream. Not actually a dream, I don't think Neil is that unoriginal. But in the song they liken that one magical night to a dream. It's a fantasy that they get to live until the sun comes up. They get to live their dream for four years. They are together and they are in love but they are still living in secret. They still don't acknowledge it. They're still holding back. One of the themes in this series is timing is everything. Maggie and Nina's relationship doesn't work because timing. The magic trick worked the time it mattered. Timing is important, and the ineffable husbands are bad at it. They should have thrown themselves into this but they were too cautious and they missed their chance.
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I think this conversation is when Crowley realises. Not that he is love with Aziraphale, that was established in 1941. But that everyone knows anyway. There is no reason to hide. No one cares that they're an item. Aziraphale has a similar epiphany after his chat with Shax. So they both decide to move the relationship along, but damn do they have bad timing.
Now I am as confused and heart broken as anyone about the final fifteen. And I am certain that there is something that we are not seeing, a trick that we've missed. There are six minutes unaccounted for. Neil says its a continuity error, but he's demon, he lies.
So here is what I think, and why this line "that's the point, no nightingales" is important. At some point during that conversation Crowley catches on. Whether they have a moment of stopped time, or the fact that Aziraphale is acting so utterly unhinged, there is something that happens that we don't see and it clues him in. He is hurt and angry yes, but he understands. What he is understanding is that the dawn came stealing up, and that the interlude is over. The nightingales stopped singing, and they have to go back to work. He gets it and that's how he lets Aziraphale know.
"You're an idiot, we could have been us." He doesn't like the plan, whatever it is. He thinks running would have been preferable, but he is resigned to it.
Then that kiss. One last goodbye just in case the world ends? Desperate longing and years of pent up frustration? I don't think the trick is here. I think this is misdirection. We're all looking at the kiss, we missed the coded message that came right before. I think "No nightingales" may also suggest that this isn't the kiss. The romantic kiss will come later, when the nightingales sing again. And they will, of that I'm certain now.
The song playing in the car, a message from Aziraphale or from the Bentley reminding him to have hope. Two things we know about Crowley. He is an optimist. He loves to rescue his angel. We also know that he is the trusted stooge with the steady hand. Aziraphale will perform the theatrics, he will do the rest. The fact that he waited and didn't just storm off like he did when he was rejected in series 1 tells Aziraphale that he is still here. He's still in this.
That's my interpretation anyway.
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crowlixcx · 9 months ago
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Some of the meta on this website... I swear in 2 years when we're all still waiting for S3 y'all are gonna be like 'has anyone noticed that Aziraphale's left leg shifts half an inch in this scene? that's a reflex movement from his foot because he's actually tapping out 'i love you crowley' in morse code with his big toe'
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