#SINCE I'VE DONE A META LIKE THIS?! | Explore Tumblr Posts and Blogs

metatronhateblog · 7 months

Text

As you all know by now

Metatron is sus af. And if you haven't noticed, or you live under a rock (no judgement here) I'm here to add some interesting things I have noticed as someone so obsessed with this show I can only see in the colors and outlines of Good Omens at any given moment.

Fair warning, the only theories or analysies I see are sent to me by my sister, or appear on my dash (and I don't follow many Good Omens blogs that theorize.) So if any of this has been stated or pointed out before, apologies. I'm trapped in tunnel vision mixed with an aching brain.

This one's a doozy and a conglomeration of stuff that I have noticed that I'm not sure actually hold any significance so hang in there, it's worth it.

SO. Let's dive in.

First things first, lots of different theories going around, not sure I believe a lot of them but am fully willing to indulge, and admire the effort people put it. I'm not a huge fan of the 'Metatron poisoned Aziraphale theory' but I have a feeling this post might possibly give those girlies a little 'W.' We'll see, I have various points to touch on.

Something fucked is going on with Metatron. For starters it's very uncomfortable to me, and hits very strangely that no one recognizes him (except Crowley.) Which is so strange because we previously see Michael, Uriel, Gabriel, and Saraqael all in a meeting with the Metratron about....oh maybe ten minutes prior, not to mention Muriel and Crowley were there witnessing it also??? Hello? Why does only Crowley recognize this person that this group of people have seen (Saraqael and Muriel only moments before at the same time as Crowley.)

So how come Crowley is the only one who recognized him??? Sus to me. Any thoughts as to why cause I have none....

But then things to me seem to get a little weirder. I enjoy playing with audio, cutting out background audio and emphasizing little things that might sounds strange to me. And I went through checking all of episode 6 for any weirdly placed miracle noises or waving of hands, and I came up with three things (one of them was actually from episode 5 though).

1.) There's a miracle noise after Aziraphale asks Metatron what they'll be doing in heaven and Metatron responds with 'It's something we call the Second Coming.' This one, with a lot of back tracking and examining other scenes, I've come to the conclusion is simply the elevator being summoned, though I do find it strange to hear the noise yet not see that miracle happen.

2.) In episode 5, during The Ball ™️, Maggie walks up to Nina who is sitting in a chair and offers a hand to dance. Aziraphale, my beloved, is watching so happily and excitedly from the side while holding a tray of hors d'oeuvres. Right when Nina grabs Maggie's hand there's a miracle noise. I'm not sure if it's part of the overall thing Aziraphale has cast over the bookshop, or if it's him from the side and we once again don't see it...(which feels weird) but it's there. And if it is because of the overall miracle cast over the shop then why don't we hear that sound every time something happens that is effected by said miracle. Something is weird about that one to me, but that's not Metatron related sorry. (Here's a screenshot from the exact moment if anyone is wanting to go looking for it.)

And 3.) My big one. This noise is...so unsettling to me. The first time I heard it I flinched. I still cannot figure out if it's part of the soundtrack or if it is a separate noise that segues into the soundtrack or not. But this one. So when Metatron originally enters the bookshop there is obviously a commotion and then once he gets everyone to leave, he looks at Aziraphale and tells him he wants to speak with him or have 'a chinwag' (weirdly Earth term if you ask me) and then offers Aziraphale a coffee who then takes it and sips it blah blah blah we all know that part. But then Metatron says something...weirder. He mentions that he's also consumed things before...which...makes something about him feel all the weirder. He then again asks Aziraphale to chat with him. Aziraphale hesitates and looks to Crowley who is lounging behind him who tells him to go ahead because the 'day can't get any weirder.'

Immediately following that is where I am horribly sus. Aziraphale looks at Metatron who gives him this kind smile and ushers him forward, and once Aziraphale can't see them anymore, Metatron turns a glare onto Crowley, who I'm not sure if we see him acknowledge this sudden cold change.

But that's not the sus part. In my opinion the sus part is the audio. THE MOMENT his demeanor changes to glare at Crowley. We get this little....noise that sounds like a deep kinda dark little twinkle of some sort (and holy shit I'm screaming over this noise because upon checking the official soundtrack the noise is not there) that sounds like magic is happening. And it just. I have listened to the dark way the soundtrack picks up and listened to it through over and over searching for any more signs of that out of place noise and I CAN'T FIND IT. So because I care deeply and am not going to make you people go hunting for this one, I have a screen recording of the audio clip. I kinda took the audio of an actual miracle noise first (I was using it as my reference) and then all the audio surrounding that noise and reduced it, but kept that noise kinda emphasized by not touching it at all. (My apologies now because my editing audio isn't the greatest, I'm no professional, and I did get the first notes of the soundtrack starting in there too.)

HOLY SHIT????? HELLO???? What was that dark little sound there??? I don't know if anyone else has pointed it out but if you have you're amazing and I love you.

BUT WHAT THE FUCK???? I'm sitting here trying to figure out what that strange little audio blip is right there because if I'm correct and when Metatron tells Aziraphale 'the Second Coming' followed by the miracle noise I believe to be summoning the elevator???? Then what is that sinister little???? Almost miracle sounding noise there???? My goodness.

That being said, I did check through the audio in other places, trying to listen real close (and if anyone else is good with audio and can actually find it, then please share I wanna know) and I heard no miracle noises during their kiss scene or when Crowley gets in the Bentley and the Nightingale starts playing. (Disclaimer that could just be because of my hearing loss, so if it is there and you can isolate it, I'd love to hear.) I tried, I searched endlessly to try and help you guys with your theories but I found nothing. I will say though, a bell tolls very frequently in the show when something significant happens and there's a bell toll right as our beloved angelic beings pull away from their kiss.

Now that I've pointed out the strange little audio things I personally have noticed, I want to move on to more colloquial audio and less background noises.

I wanna talk more along the lines of this post by @meatballlady (sorry for tagging you I wanted to give you credit where it's due.)

After seeing this post and doing a rewatch of the show, I have been working more at trying not to make assumptions and trying to think of the ways different things can be taken.

Well the Metatron says something that I think maybe we should focus more on the different things if could mean???

This thing is said (i believe during Aziraphale's retelling of what the Metatron said to him) but also right after another one of those moments of misinterpreting the meaning of what someone's being said. This happens after Muriel interprets Crowley's 'Us time' to include them.

The line I'm thinking of here is

"I've been idling back on a number of your...previous exploits, and I've seen that in quite a few of them you've formed a de facto partnership with the Demon Crowley. Now if you wanted to work with him again, that might be considered irregular, but it would certainly be within your jurisdiction to restore your friend...Crowley...to full angelic status."

Holy shit there's a lot to unpack in that, both for Aziraphale and us. this whole thing could be interpreted multiple ways, I think, and that's why I've included this whole quote rather than just the specific line. It's a lot said in one go with multiple things that are....worded interesting. For a start.

Exploits -

Several different meanings both in the words form as a verb and a noun, and Metatron puts an emphasis on 'previous exploits.' So how is he using the word? Noun meaning bold and daring? Probably not a software tool. What about a verb? 'derive benefit from' is an interesting way to put it. 'Use a situation or person in an unfair or selfish way.' There's plenty of options here. And to say that he is using one specific meaning of the word would be assuming that you know for sure what he's saying. And when it comes down to it, we don't. After all doesn't this season play a lot with the misinterpreting of what someone is saying?

Let's continue.

de facto partnership - is technically an informal arrangement generally for business, formed by two or more parties.

Which is cool, but that's not the emphasized word here. The word Metatron seems to hang on is 'partnership.'

Partnership -

At this point it feels like an almost sterile way to talk about their very clear relationship together. But strange that he hesitates on the word.

The thing I really wanna talk about is

"...restore your friend...Crowley...to full angelic status."

Restore -

Now everyone, Aziraphale included seemed to interpret this as 'reinstate' your friend Crowley. And again it would be very presumptuous to think that it could ONLY mean giving Crowley a position in Heaven next to Aziraphale.

One of those meanings in there says something along the lines of 'to return it to its original condition.' And we all immediately go 'well that would be an angel of course.' But we forget to take the time to realize that...as an angel, Crowley wasn't a demon. He didn't have all the memories and experiences as such. In fact, it feels hinted at throughout this season that Crowley doesn't have all his memory from his time as an angel. And who's to say that if he was restored to angelic status that wouldn't mean wiping him of his memory of his time on Earth? Who's to say that the Metatron isn't implying here that this is another way to make Aziraphale compliant while also keeping him separated from Crowley.

We all know as a team those two will 'raise Earth' for lack of a better term against Heaven and Hell to prevent Armageddon. They are their own side. And I think Metatron knows he has no chance of the Second Coming if those two are still working together.

Who's to say that Metatron wouldn't put limitations or a status quo on the allowances of Crowley returning to Heaven. He can't ensure that Crowley wouldn't cause problems, he can't ensure his trust.

Sorry if all of this has already been said and pointed out, but I personally haven't seen any of it and needed to get it off my chest before I exploded.

#good omens #good omens 2 #ineffable husbands #crowley #aziraphale #metatron #metatron meta post #meta #i really hate metatron #good omens 2 spoilers #good omens spoilers #good omens season 2 #sorry for the long post with a lot of words #i have a history in theory making and it's been a long time since I've done anything like this #I have to find a way to prevent myself from getting more and more obsessed with this show.

211 notes · View notes

wizardofahz · 14 days

Text

Saw a Criminal Minds gifset and suddenly started thinking about canon vs. fanon JJ.

TL; DR: Fanon JJ is the facade canon JJ puts on to hide trauma.

(This discusses JJ's sister, so content warning for suicide)

The obvious starting point for understanding JJ's characterization is her sister's suicide. That's a traumatic event for anyone, and even more so for an eleven year old child. So it's quite understandable that JJ decides she will do whatever she can to avoid experiencing hurt like that again.

In episode 3.17, JJ tells Will about their relationship, "I didn't want to tell anyone because the minute I do it becomes real, and when it becomes real, people get hurt, and I've always run from getting hurt. Always."

But JJ didn't only lose her sister.

In episode 14.12, JJ's mom admits, "I got so caught up in all my troubles that I forgot there was another little girl under my roof who had just lost her sister. You needed me, and I wasn't there."

At eleven years old, JJ was a traumatized child without a support system. So she learned to rely on herself. Other people were just avenues for hurt, and she decided that wasn't worth it.

All of which leads to this confession from JJ in the season 14 finale: "There are only four people I trust in this world."

My three non-negotiables are Will, Hotch, and Emily. The fourth is between Reid and Garcia, but I lean towards the former given Garcia's penchant for invading people's privacy.

Even if anyone disagrees with that list, there's not a lot of room for choice. At any given time, the BAU usually has seven members, and given the amount of turnover they've had, JJ hasn't learned to trust most of them.

Do they know that? They probably know her facade masks trauma, but I doubt they know the extent of it. There's a reason that episode starts with the team playing poker, and JJ showing Reid he doesn't know her as well as he thinks he does.

So let's talk about that facade. In contrast to Reid, who wears his trauma on his sleeve, JJ buries hers as deeply as she can. She takes care of the people around her, and while it's not disingenuous, it's part of a prettily painted reinforced fortress wall that says, "hey, look at me, such a put-together person that doesn't have problems of my own, so I can help with yours."

And it does the job because it has fandom fooled too.

#criminal minds #jennifer jareau #it's been a while since i've meta-ed #i kinda miss it #tbh meta-ing feels like the hw that should be done before fic-ing #these days i'm too tired/busy to do both so i meta via fic #but that's more based on vibes than coherent thoughts #maybe i'll do leverage: redemption meta next #i go absolutely feral over the way gina bellman plays the sophie & astrid storyline #ahzy meta

46 notes · View notes

aurore-parle-de-ses-idees · 2 months

Text

35%??????

#lotro #that is so so much what-#i know lightning rk isn't the Meta™️ dps but like #least it wasn't last time i bothered to look #i don't think I've had any real problems w killing like. anything. on est #est prime admittedly is actually kinda built properly #but only kinda bc i haven't done much on lotro since november really #but even so #that is a wild damage boost #ncf est hasn't had any problems either even solo #they also fucked about with dnf and idk how I'm gonna feel about that when it's live

8 notes · View notes

revvethasmythh · 1 year

Text

okay still on the topic of veth's "Nothing is more important than you" because honestly I think that is such an interesting and important character note for where she is emotionally at this part in the story. A long time ago, I wrote a meta about this scene (that tumblr thoroughly ate and is super hard for me to find again) predominantly because of the advice she gave to Caleb: "Burn your past." Veth is more aggressive in her advice in this scene than we see almost ever in the entire campaign. There's real fire and passion behind what she's saying to Caleb, even though the advice she's giving isn't very good or actionable for him. And I've always been of the belief that she's very much projecting her own feelings about her life onto Caleb in that moment because it's a thousand percent easier to tell someone else (particularly Caleb, whom she is closest to) that he needs to go scorched earth on his past than it is to admit to herself that maybe she wants to scorch out a little of her past, too. Especially when that past includes her husband and child, whom she loves, but is feeling deeply conflicted about because she's caught between two realities and versions of her life that simply cannot mesh together.

I think a lot of Veth's character arc in this segment of the story is so nuanced but subtle, which is why it's so rarely discussed, in addition to [insert 10 page rant about people ignoring Veth's character for other reasons here]. This quiet grappling with her impossible choices are truly highlighted by the men in her life she has romantic feelings for--Yeza and Caleb, who work really well to represent the desire for homemaking vs. the desire for adventuring. It's simple canon that Veth has at least a crush on Caleb at this stage, though honestly I'd expect it to be much more than that considering her internal conflict and what she actually says to Caleb in less than a 10-episode run ("I want to be with you--all", "I will always love you", "nothing in more important than you"). These aren't subtle hints about how she feels for him, but are rather on the nose, though I suppose they could be misconstrued simply because her relationship with Caleb has been routinely ambiguous and unfathomably intimate since the very beginning. But if that thread of understanding about how Veth is feeling gets lost, then full scope of Veth's conflict and the reason behind her projection in this moment gets lost as well because the two things Veth is feeling in that moment are a) protectiveness beyond the norm over Caleb and b) conflict over her place in the world. Anger at the bind she's found herself in where there isn't a perfect, happy ending and a choice does have to be made. It's something she's been putting off for a long time, since episode 59 when she first asked Caleb if he could just give her the answer of what she should do ("I ditched my husband in a den of monsters to go adventuring with you.")

The anger there is valid. After all, what has been easy and gone right in Veth's life? Why wouldn't she be angry and frustrated that even when everything should be working out in her life, there's one more thing lingering and tearing her heart in two, between the Nein and her home/son, between her feelings for Yeza and her feelings for Caleb? It just really occurs to me that if you choose to ignore Veth's very much canonical feelings for Caleb in this instance (which I've seen a lot of the fandom do), the drive for this outburst and the impact of it is lessened to such a notable degree. The real meat of what Veth is feeling and grappling with, in my opinion, becomes so much more opaque if you can't/don't acknowledge the feelings that are supporting it. "Nothing is more important than you." That's a categorically untrue statement. But maybe in one selfish moment, that's what Veth wants to be true.

#it's been a while since I've done a honk-a-chonk of a meta like this #feels good to be back #cr2 rewatch 2: electric boogaloo #cr2e126 #critical role #the mighty nein #widobrave #veth brenatto #this isn't even mentioning how veth habitually pushed caleb to be with astrid (SPECIFICALLY astrid)#whom veth seems to really specifically think of as his boyhood girlfriend #in a way that I don't think is entirely unrelated to how she views yeza as her girlhood boyfriend #because if caleb is with astrid and happy then she thinks she can finally let go and be with happy with yeza again #anyway

118 notes · View notes

immobiliter · 4 months

Text

"And it would not do for the Demoiselle of the Spina to go without a gun" "Granted, as president of Spina di Rosula, I do have my ways of making people keep their mouths shut, but don't worry — I promise not to use those on you." "If you ask Navia, she'd tell you that the Spina serves as a business partner with all sorts of people in it, that will help with any problem, using the velvet glove or the iron fist as appropriate." "she could see the cosmetic scars imagined by makeup artists permanently carved into the bodies of those dwelling in the Fleuve Cendre."

tell me the spina is like the mob without telling me the spina is like the mob

#me & sae coming up with this analogy 🤝 navia's voicelines/character stories backing us up #* / character study ( navia. )#this is probably one of the first things i will meta about since i really want to pin down what the spina is and how it operates #because it's not just an independent detective agency #they effectively control the fleuve cendre which is implied to be full of unsavoury characters - even without counting the sinthe dealers #and i think navia has very good intentions and a kind heart #and it's interesting that she does talk in her voice lines about not wanting to run it like her father did #but i think her morals are flexible and her willingness to look the other way to the moral character of others in the spina is interesting #but as i say - a full write up on this is coming once i've done her story quest and compiled all of the stuff from the AQ

7 notes · View notes

digisurvive · 1 year

Text

Refreshing honesty

In which I contrast Saki and Mimi for fun lol

[Image id: Screenshot of Saki looking upset and leaning forward]

Saki getting compared to Mimi is inevitable given her character was crafted to be outwardly similar: they’re both in the lower age bracket without being the youngest, they have a cheerful, sensitive disposition, distaste for violence and a tendency to bluntness in a way that’s refreshing~. Therefore, certain expectations on Saki are placed: that she would be self-centered and learn how to get along with others and consider their needs, that she’d be outspoken and open and that she’d have to learn how to endure hard tasks and stand firm before adversity.

However, Saki’s very introduction scene subverts these expectations— after all, we first see her tagging along with Ryo, who has a combative and nasty disposition. Her patience in dealing with him makes Aoi and Minoru remark that Saki could get along with just about anyone, which already sets the first point of contrast with Mimi.

As we learn further down the line, Saki has a very keen eye for people: upon Ryo’s death, she reflects that he was lonely and had trouble expressing himself, which showcases she’s able to look past his unpleasant and selfish behavior and understand him to an extent. The degree to which she related to those traits, albeit in a different manner, is shown in her Wrathful flashback, where she talks about how lonely she is (If someone like me disappeared, I doubt anyone would miss me...!) and how she lost her friends to a fight, which seems like a recurrent event in her life given her strong fears of rejection underlined in her moral shadow event. This information recontextualizes some of her dialogue during Vegiemon’s evolution scene: “I did it because it was the ‘good’ thing to do, I didn’t want others to hate me…”. This shows that she chooses her words carefully using her keenness to navigate the world and fit in, even though she still gets it wrong at times.

This continues to hugely set her apart from Mimi, who could be a bit thoughtless in her honesty, either hurting Palmon’s feelings for not being ‘cute enough’ or making it hard for her to get along with people she deemed difficult (Koushiro). Mimi is naturally charismatic and doesn’t have trouble socializing and being accepted by others. Unlike some of the other adventure kids, she has her own friend circle before the summer camp started and her home life is very stable, so her outspokenness comes from a place of being a well-adjusted kid who isn’t afraid of expressing her needs and opinions, which is another point of contrast to Saki. As we learn over the course of the game, Saki is very ill and tires easily. However, she’s very discreet about her needs, only voicing them until she has no other recourse (until she literally couldn’t keep going during the trek to the amusement park in part 4). Saki is generally cagey and avoidant to talk about it at all, even as it permeates every aspect of her life (her wistfulness over her missed experiences when wandering around the amusement park, her comical vague excuses when explaining Takuma she won’t be able to meet with them after camp due reasons~ in part 7).

Despite her bluntness, Saki has trouble talking without reservations about her worries and problems, and it takes a lot of work showing her she’s accepted for her to open up— first to Aoi and then to Takuma, who are both people who are very attuned to others’ emotions and taking care of them. Thus, Saki’s own bluntness isn’t necessarily straightforward honesty, and it’s something that can either be born out of her social inexperience (her passive-aggressive remarks to Shuuji in part five only antagonize him further and form part of what makes him dig his heels, instead of helping her stand up for herself and the group) and her strong sense of justice: that she will speak up when things are unfair (she shows strong ethics when rejecting Minoru’s idea to make a tally about whether to look for Miu or not, arguing it’s immoral to take a vote on a human life). Where Mimi is accepted and has to grow to be committed to her community in order to stand for it (her crest activation literally hinges on this), Saki already has strong values and needs a supporting community to be able to act on them.

#Digimon Survive #digimon survive spoilers #Saki Kimishima #Digisafe #I only compared them bc it's fun how Mimi & Saki are near completely opposite to each other despite the surface level similarities lol #I also feel this mostly amounts to saying Mimi is well-adjusted but oh well #Have fun #I was gonna add screenshot to exemplify everything I'm talking about better on both sides but zzzz #I've had this post in mind since last year so it's only getting done like this #I only went to hunt the screenshots for Aoi 🤣#mine #Meta #Saki

34 notes · View notes

korpikorppi · 2 years

Text

知音 The one who knows the melody of my heart.

#been a while since i've done more fantastical edits of these two #and i felt like playing around a bit #the original caps are from guanyin temple #ep49 #theuntameddaily #lan wangji #wei wuxian #wangxian #random late night screencap edits #mine #and talking about links to meta by #hunxi-guilai

83 notes · View notes

sanstropfremir · 2 years

Note

Hey! I hops life has been treating you well! And warning for a long and convoluted ask incoming (which is pretty par for the course for me). I’ve been going down a Yunho (U-Know Yunho to be precise lol) rabbit hole and I’m curious how you think he compares to other male SM solo artists especially Taemin (though I think it would be interesting to compare all SM solo artists like BOA or Taeyeon and Hyoyeon for the purpose of this ask im just thinking about the dudes). Cause I feel like him, Taemin, and Kai all fall on different ends of the same spectrum that’s distinct from some of the other SM solos like the other Exos (except I might add Baekhyun in there but I’m just not familiar enough with him) as they tend to tackle that darker sexier sound. I’ve been thinking about how when people say a male solo artists is making taemin lite music it’s usually actually closer to Yunho’s more recent stuff. Like taemin has kind of become short hand for dark male solo concept especially if it’s on the sexier or high concept side when that’s not always an accurate comparison. I’ve seen this especially with Wonho which is really interesting to me cause in my mind he falls way more on the Yunho end of the spectrum than Taemin (by like a long shot). And this could also be cause the kpop circles I run in are way less familiar with Yunho to make that comparison in the first place, I was just wondering if others like you that knew Yunho would agree with me. I also found it interesting that Taemin went solo before Yunho even though TVXQ are the older group so I wonder he affected Yunho’s music at all. Cause Yunho kind of seems like a more, I don’t want to say masculine, definitely more of a player, conventionally sexy foil to taemin’s more unhinged (satanic?? Fantasy? Horror-adjacent? I can’t really describe it accurately but I mean TVXQ has down their share of that too) sensual side and I can’t tell if it’s cause of the age difference between them, their group concepts (I mean TVXQ are the grown men of the kpop industry in my mind and I have no doubt they play a role in inspiring any “manly” or mature concept and Yunho’s concepts seems to follow pretty closely to TVXQ’s image in a way that Taemin doesn’t at all with Shinee), or their own artist personas and careers- taemin has always been viewed as the “feminine” one and you’ve talked a lot about how he’s both rejected and embraced that image overtime in his career. And to further complicate this I don’t really know where to put Kai between them cause he has the more overt sex appeal in Mmmh, and in his image over all, that Yunho has but also is more sensual and softer (subtle?) dance style that seems closer to taemin (or at least taemin’s image I’ll be the first to admit that my understanding of him as an artists doesnt always align with his actual output and the expectations I project on him) so I guess he goes in the middle. But peaches does really stand out as a sort of softer lighter storybook concept (which I love cause I feel like we don’t see traditional concepts that are more feel good) so that kind of throws a wrench into my theory and I guess thats what I get for treating artists’ output as a monolith and for comparing them😅. This ask is getting very very long and I’m late for class so I won’t continue but I did have some idea about where Xiumin’s recent comeback fits into this roster of artists but I’ll save that for another day lol. As always thanks for your input and I hope this makes at least some sense to you!

i stopped photo editing to answer this lmao bc i think this a very interesting question/thought experiment etc etc

firstly, most people will make the taemin comparison for male soloist because he is significantly more well known as a soloist, and part of that is that he's famous for being a soloist; an extension of which is the disparity between his solo work and his group work. now there are two points i want to fork off into from here:

-> the first is that it's a flawed comparison to place yunho, taemin, and kai on a spectrum because they're not derivatives of each other in the way that a spectrum would imply; what they all are is derivatives of rain. every dance-based male soloist is, via some lineage, a descendant of rain, whether it's through the skills line (taemin) or the 'masculinity' line (yunho) or a mix (kai). baekhyun doesn't factor in here because he's almost purely rnb based and therefore a kangta derivative.

-> the second is that it is valid for people to be making that comparison to taemin because most younger idols are going to be using him as reference, and because a lot of these younger idols are following his method of creating a separate solo persona from their group. yunho does not have that distinction. he is quite literally the face of tvxq, and therefore inextricably bound to the group's identity because there are literally only two of them. if they were, for example, still a five member group, he might have had more a chance to diversify himself a bit, but that's a bygone point because we don't live in that world. the reason tvxq made it through the split and maintained being an extremely successful group is very likely because of yunho's singlehanded determination. obviously changmin does care about the group, but as we've seen with his solo work, he's much more of a musical chameleon; he's more focused on dabbling in widely different genres that interest him. yunho's solo music however, is pretty consistent in sound and also not all that surprising of a leap from who he is in tvxq. so by that observation, i would say there isn't actually a difference between uknow yunho and uknow the soloist. his artistic identity is tvxq, in a way that he can't separate, unlike how taemin can separate from shinee. and following that point through, no younger soloist can really be compared to him because his history and group image are so integral to what he does. that's why there's like a negative number of young idols that every attempt to cover a yunho song, bc the vibes of something like follow or thank u would OBLITERATE anyone under the age of 30.

if you were to look at just aesthetics and music styles, sure on the surface there are some younger idols that unintentionally skew more towards some of the stuff that yunho has done, but in the end that's because they're all under the rain umbrella.

#kpop questions #tvxq w #tvxq #yunho #taemin meta #i know i've talked about this before in a post somewhere. but yunho's only comparable peers are literally like. junsu and rain #both them COULD cover a yunho song if they wanted to. but again. their vibes are wrong. they don't have the same desperation #to be completely honest i actually think it's unimportant to compare the literal aesthetics/music style of solo artists #and instead you need to compare HOW they approach those aesthetics styles etc etc #like you could say that taemin kai yunho and baekhyun have all done dance based 'dark sexy' concepts within a relatively close timespan:#criminal (sept 2020) mmmh (nov 2020) thank u (jan 2021) and bambi (march 2021)#but that doesnt take into account the fact that all of them approach the concept of 'dark sexy' totally differently #and each according to their own contexts #i dont think you can put all of sm's soloists on a big scale of similarity of music and aesthetic #i mean. you can bc duh theyre all gonna look and sound similar bc they share resources #but that's not seeing the forest for the trees in terms of actually analysing and understanding a soloist's work #this is basically just a very longwinded way of me saying that i dont think there's anyone that makes solo work like yunho #i guess you could argue that kai is actually the most similar to yunho since he doesnt have a real distinction between solo kai and exo kai #but again its different bc he's got a wider array of genres he's willing to try and exo is not the same as tvxq #but again again its not about relating them to each other. its about relating them in comparison to rain #answers #text #like when i say taemin is more popular i mean like. 1.2 million monthly spotify listeners vs 30k. its not an insignificant difference

29 notes · View notes

dimiclaudeblaigan · 8 months

Text

Have officially begun the process of moving all my content onto the new blog bc my faith in support to actually fix the issue does not actually exist.

If it gets fixed I'll keep using this blog like I've been and just consider the other one a backup. Otherwise I won't be deleted this blog, but I won't be using it regularly (if I continue to), and not for posts meant to go into tags.

I'm not following people yet bc I'm still in the process of moving posts, which means mass reblogging, which means 200 posts straight per day until I'm caught up.

#DCB Comments #a couple of y'all followed me anywhere when I was doing a test run for smth tho LOL #you two are gonna get swamped until I catch up sjhkfgsj #and I mean y'all are free to follow the new blog. just. like. you're gonna get buried in the reblogs for now lol #I'll still post my DCB runs stuff for now since that was always just a personal tag #but big kid meta/discussion posts will be on the new blog bc apparently I'm also not showing up in people's notifications #when I reblog stuff/reply to it. no point in trying to have a conversation when my blog is like #80 percent shadowbanned. :') I can still send/receive messages but #that's basically the last functionality left that I seem to have for ppl who get shadowbanned #which apparently usually happens bc of logging into the blog on a VPN and it blacks you automatically for that #unfortunately my Opera browser has a built in VPN that is usually on #and while I don't usually use Opera sometimes I have to bc my comp physically cannot handle #going onto people's (user).tumblr.com versions of their blogs on Chrome #it will literally freeze the computer for at least a solid ten to twenty mins and then either the page will crash #or the entire browser will crash. started to happen kiiiind of recently? but yeah. sometimes I just #have to check actual blog pages on other browsers and I've had to use Opera for that before #so my VPN would've been on and... yeah. can p much guarantee that's what got my shadowbanned #apparently staff can take up to several weeks to even respond/resolve the issue so I ain't waiting #at least not to move my stuff bc I'd rather it just be done and over with if I end up using the blog #instead of having to do it all once I'm actually ready to use the blog #most of the stuff I'm reblogging rn is the oldest stuff from the sideblog lol #like back when I moved things from there to here. it's easier to do now since I'm just clicking my previous tags but #I'm still gonna hit a daily dead end unfortunately so may as well get started now

3 notes · View notes

ririblogsss · 23 days

Text

(This idea has been done before butttt I still wanna explore it)

What if instead of the JL believing that phantom is a ghost they just believe he is a very much overpowered meta with stereotypical ghost powers.

like in this AU, Phantom would have successfully gotten in contact the JL and got the GIW shot down, the JL thinking that the GIW were making false claims about a different species so they could experiment on metahumans with unique abilities. The Fentons works are under extreme watch and everything they do / want to research is heavily reviewed. Phantom ended up joining the Young Justice league.

So because JL assumed that Dannys 'ghost form' was just to keep his ID from being reveled, as no one would look for his real ideantity and if they did they would look at people who have died. Batman thought it was a genius strategy.

But then one of his teammates (im thinking either RR of Superboy) mentions that in all this time phantom hasn't aged a single bit

(I'm thinking that his ghost look never aged since he died, basically forever 14 in that form)

And Dannys brutally honest like "Of course I don't age im dead" while rolling his eyes.

And everyone stops and takes a full look at him really analyzing him.

And his teammate just has the loading screen on their heads and they just say: oh I thought that you that-

And they can't even complete a sentence cause their baffled.

And Dannys shrugs like it isn't a big deal: Yeah I've said this before, lab accident I died but came back. Anyways I have paperwork to do royal duties u know.

And he just leaves everyone to have a mental crisis over someone they knew died at such a young age and that they came back only to protect people.

Meanwhile Batman's over in the corner inputting 100s of questions into google

'Is it legal to adopt the ghost of a child'

'Can someone call cps on a families ghost'

'how to take care of ghosts 101'

'what do ghosts like'

'ghost customs'

#dc x dp #dpxdc #dp x dc crossover #Batman : if I had a nickel for every time a kid died and came back I would have 2 nickels which isn't a lot but its weird it happened twice

2K notes · View notes

justhereforthemeta · 8 months

Text

Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball.

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché.

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery.

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967:

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once.

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat.

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution.

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!?

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save.

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

#so honestly #I think the biggest mark against this conclusion is that Crowley sees his mirror Maggie taking a nap at the end of S2E6 #there is a strong chance of a depression nap before any further spying gets underway #but I am counting on Muriel to be a dorky ray of sunshine and snap him out of it with Clues #good omens #good omens meta #good omens 2 #crowley in a turtleneck #demon bookseller plantdad spy

2K notes · View notes

im-totally-not-an-alien-2 · 11 months

Text

"Hello." A dull thwack sound reverberated across the rooftop, leaving the boy who snuck up on Red Robin clutching his head. The boy, a meta if the large animal ears and tail were anything to go by, shook off the pain and pouted up at him, "What was that for?!"

The vigilante was unrepentant, holding his bo staff in a ready position, "You snuck up behind a vigilante at night. In Gotham."

"Okay," the meta conceded, still pouting. "You have a point there. Robin threw ninja stars at me when I tried to approach Batman."

That got Tims attention, "You tried to approach Batman? Was there something you needed?"

The kid suddenly got serious, "My mom went missing. I haven't been able to contact her for almost two weeks now."

Red pulled his arm closer to his face before he began typing on his wrist computer, "Can you tell me her name and date of birth?"

"Um." The other teen fidgetted with his tail a bit, "Okay, so...she's kinda Cheetah."

"...come again?"

"She's Cheetah. The...the supervillian."

Red Robin stared at him, and honestly who could blame him? The bats hadn't even known Cheetah had a son. "So why are you in Gotham? Why not ask Wonder Woman for help? Cheetahs one of her rogues not ours."

The teen shook his head, "She went to meet someone in Gotham before she disappeared. She seemed really agitated before she left, almost scared. I've never seen her like that before." He paused, giving the vigilante time to type before continuing, "I didn't go Wonder Woman since I figured I would wind up needing to talk to a bat anyway since its your turf and all." He said, waving a hand as if gesturing to the city around them.

"I wasn't aware Cheetah had a kid."

The meta grimaced, "she didn't until a year ago."

Red gave him a look, as if urging him to go on.

The meta chuffed, sounding a lot like whatever big cat he was supposed to be, "I'll only tell you my tragic backstory if you promise to help me find my mom."

"I'll find your mom." The bird said without an ounce of hesitation. Tim was a little offended. Did this guy think he was going to leave his mom in danger just because she was a criminal? Appearently so, seeing as the teen looked so relieved at his words.

"Okay, so my bio parents were evil mad scientists. Always a bad start, anyway they were obsessed with the occult and one day they suddenly took me and my sister to Brazil to hunt for some artifact of another. That alone was strange but weirder still was the fact my creepy godfather was paying for it all. He usually only does something like that when he's plotting "

"Plotting?" The detective interjected, "you make it sound like he does that often."

"Yeah. Hes a supervillian." The meta said casually, as if he didn't just leave Tim reeling, but the kid wasn't done yet, "He's had a massive crush on my bio mom since collage and never let it go no matter how many times she rejected him. She even married my dad, his best friend, and this dude just kept simping for 20 years." The teen rolled his eyes, "Hes convinced himself that if he murders my bio dad then my bio mom will fall in love with him and me and jazz will be "his"." He said that last part with fingerqoutes and a disgusted expression.

Tim filed that away for later, "Can I have his name, if nothing else?"

The teen seemed reluctant for a moment, "You're the worlds greatest detectives. You'll find out even if i try to hide it. Besides, I'd probably be better off if you and the Justice League know everything anyway."

Tim was...surprised by that. Most people usually weren't this open with them.

"His name is Vlad Masters, he also goes by Plasmius when he's dressed like a wannabe vampire. He's a ghost who's repossessed his corpse. My parents are Jack and Maddie Fenton, who are obsessed with ghosts and have convinced themselves that all ghosts are evil and must be destroyed, regardless of how much evidence points to them being wrong."

"And your name?"

The meta grinned at him, showing off four very sharp fangs, reminiscent of the large cat he takes after, "You can call me Jaguar. We were exploring a bit when I broke off from my family and got jumped by one of them. Suddenly I was struck by a claw and turned into furry bait. Fluffy stopped trying to make me his lunch and just stared at me before walking away, which was wierd. Then my parents found me, accused me of being a ghost, because thats naturally what someone would assume when thier son sprouts cat ears," he said while rolling his eyes.

"Naturally." Red joked, which had the benefit of making Jaguar smile.

"So my parents chased me through the jungle, shooting all the while, then suddenly a portal opened up in front of me. I'm not stupid, I know there was no way this wasn't a trap. I mean, a portal opening up right after that bizarre series of events and its the same shade of glowing green as the wierd death go my parents are obsessed with? There's no way they weren't related somhow, but I was desperate and jumped through anyway."

"I landed in another jungle, or the same one in a different location, I'm not sure. I tried hunting and foraging but wasn't very successful at either." Danny still remembered the throbbed in his head when he had headbutt that tree after missing his pounce on that pig he had been stalking. "Thats when Cheetah found me. She took me in and taught me to hunt and fight."

-----

Possible plot twists:

1. Danny isnt Phantom in this au

2. Danny is Phantom in this au but is trying to leave that life behind

3. My favorite. Danny has the ability to manipulate and control animals into doing his bidding with the effect of jaguars and other big cats being the most prevalent and he just doesn't realize it.

One of Cheetahs friends/allies realizes cheetah has changed and suspected something and convinced her to leave for a while to see if her care for this kid faded after a while away from his presence. It works and Danny loses another parental figure/possibly attacked by them too.

3K notes · View notes

clairegregoryau · 6 months

Text

Through the Looking Glass

From fairytale in Season 1 to stark reality in Season 2 of Our Flag Means Death- meta ported across from this Twitter thread by popular demand!

This thread contains spoilers for the entirety of OFMD Season 2

First OFMD S1 rewatch since S2, and holy shit, if you haven't done that yet... do that. A thing that it made instantly clear: they told us *all along* where this was going, but there was a reason we didn't see it. Because we were living in Stede's world then. Now it's Ed's.

I know that a lot of us have felt that the tone shift at the end of S2 was... jarring, compared to what's come before. This felt like a show that wouldn't go there. One where being run through was a temporary hiccup. We've travelled all the way from this to this.

But we haven't jumped there without a journey in between. And from the minute we started hearing about Blackbeard, the show never tried to hide what Ed's world and his specific life was like. Not once. In fact they told us over and over and over.

But Season 1 told us a lot of those things through song and story and fuckery. It blended reality with fiction.

Stede met the Blackbeard he knew through books and tall tales, and the real man was even more wonderful than he'd imagined.

We, along with Stede, were comfortable thinking that all those other tales were exaggerations and misrepresentations, and a lot of them very likely were.

The Ed Stede got to know was a person who was capable of whimsy and silliness and loved soft things and doing something weird. Yep, he was also capable of violence and rage, but when he was with Stede, he didn't feel it so much.

This was a vacation from that life.

To Stede he was absolutely lovely... oh, and also a bloodthirsty killer. And Stede loved (and loves) everything about him, and both of those things can be true. This is a perfect example of a spot where (in watching Season 1 without the benefit of hindsight) I assumed that everyone else in that pub was wrong, and Stede was simply trying to protect Ed's fearsome reputation by agreeing on the bloodthirsty bits. And I think from Stede's perspective that was largely true. I think that's how they wanted us to see Ed, through his eyes. Now, after watching both seasons, I think it wasn't the whole picture.

They told us, we heard it, we saw glimpses of it. But we (and Ed) were in Stede's run-away-to-sea fairytale the whole time. It wasn't until Stede left that we saw the reality- the Ed we knew had been, to a degree, a fictional character all along. I always saw this scene as Ed putting a bit of distance between himself and reality; it always felt like the Blackbeard of Stede's storybooks was the fictional one. But now it feels like the softer Ed that Stede knew was much the same- neither of them the whole story of who Ed was and is.

The one person who refused to live in Stede's fairytale was Izzy. I've seen people say it before, but he always gave off that vibe of the only human in the Muppets movie, or the guy who was in Black Sails while everyone else was in Pirates of the Caribbean. He saw the real risks clearly.

And in that light, the end of S1 has shifted an inch to the left for me, and I'm seeing it at a slightly different angle.

Izzy ripped away the healing Ed was doing, but in some respects he did it by tearing away the fairytale we'd all been living in, shoving Ed back into the Blackbeard story.

And that's where we pick up again in Season 2.

The fairytale reference came back in S2 in two notable places, those being Jim carrying that legacy forward in the darkest times, and in Izzy invoking the wooden boy against Ricky's efforts. Stede's made himself into a real boy. Ricky, nope.

Now that I've watched both seasons together, the tone shift doesn't feel so jarring at all, actually.

It feels like sliding through the looking glass, out of Stede's world, and into Ed's- a world that existed all along; we were just seeing it, la vie en rose, through Stede's eyes.

At the beginning of S2, Stede's gone, and we're seeing it unfiltered through Ed's reality.

But Stede wasn't lying when he said he loved everything about Ed. He made a promise to come back and find him- he went down into Ed's darkest place and reminded him that no matter how bad things got, there WAS someone waiting for him, ready to love him.

The contrast between S1's fantasy and S2's reality (excluding mermaids and actual bird guys and cursed coats) is stark, but it really is that.

We have the same settings, the same people, and very different ideas and outcomes at different times.

But it was always there.

Things do come back to a state of (precarious) balance once they're all together. Apologies are made, whether they're spoken out loud or through actions. Things go right, things go wrong. Healing happens. Izzy continues to have the steadiest, most real through-line in the story as he tracks toward redemption, finds acceptance, and to an extent finds himself.

Once again, I hate that they went here with the ending and I wish they hadn't. But it got a fraction easier for me looking at it not as a continuation of Stede's fairytale, but of the grounded-in-pirate-reality arc Izzy was always on, even while we lived in Stede's world.

Where does that leave us? We're not going back to the fairytale, but we're not going to be living in Black Sails for S3, either. We've hit a fusion point where S1 ended with each of them going to separate, miserable homes, but S2 ended with them in the same place, ready and willing to make a go of it.

Season 3 is going to give us their world, together.

I LOVED the moments in this season where the deep emotions were in balance with the silliness I've always adored about this show. Eps4-6 were wonderful like that. Clearly we're not done with drama, either, but like Ed and Stede, I think we'll find a middle ground.

Anyway in conclusion, a rewatch of S1 after S2 somehow made me love the first season even more, which felt impossible? It's now gained /even more/ layers of depth than it had before. No matter how you feel about S2 I think it's worth that rewatch.

Adding one more bit of clarity for myself: I think we got a bit (intentionally) seduced in S1 by the idea that the Ed of the storybooks, the Vampire Viking Clown with the nine guns, was a version of him that others saw, when Stede saw the REAL person who 'worked' for Blackbeard.

In hindsight I think it's clear the Ed Stede go to know was also not the complete version of himself- the reality is, there's a whole spectrum between the two, and they've landed in the middle of it now. Ed intentionally leaned into the unlovable Kraken image to protect himself.

It very much didn't work, just like being just... Edward hadn't worked to protect himself, either. This season has been very much about pulling those two extremes together and finding all the parts that make up Ed overall (another thread on that here on Twitter, which I'll also shift across to Tumblr soon!)

And I think one of my favourite things in S2 has been seeing the way Stede SEES that- he knows what Ed's done, everyone's told him, but he still loves Ed. sees his trauma and how it affects him, and believes he's a good man regardless. He IS lovable; he's not forever broken.

And together, they can heal.

#ofmd #our flag means death #gay pirates #ofmd meta #unreliable narrators #fantasy vs reality #ofmd spoilers #ofmd s2 spoilers

618 notes · View notes

vidavalor · 5 days

Text

Great Balls of Fire

Ok, I've got a Final 15 theory on the kiss and the elevator and... pie?

This is for-- and in thanks to-- @indigovigilance, @ineffablelunatics and @somehow-a-human, as their metas reminded me of the idea of something in Aziraphale's mouth after the kiss and their talk of ball bearings and The Bullet Catch has eaten my brain alive and so here we are. Thanks also to @kayleefansposts for drawing my attention to 2/3rds of the metas. 🤗

What, exactly, happened in The Final 15? Maybe this...

As observed by many of us and discussed in the metas of the people I mentioned above, Aziraphale visibly has something in his mouth when he pulls back from the kiss. We also see him move the object around in his mouth-- or, we do, if his expression doesn't distract us first.

Because it's on his tongue, this isn't just light being weird or showing a filling or something. This is, clearly, a piece of metallic-colored something in Aziraphale's mouth. @indigovigilance pointed out how aspects of this parallel aspects of The Bullet Catch and I would agree with that. @ineffablelunatics, off of @somehow-a-human's post on the object, said it looked like a ball bearing and that's actually when I realized that I think the show might have subtly told us over the first two seasons what it is. And if it is what I think it is? The object is the reason for Aziraphale's reaction after the kiss-- not the kiss itself.

So, what is it?

To explain that, we have to start with two scenes, one from each season: 1601 and Crowley in Heaven with Muriel in 2.06.

In the 1601 scene, we learned that Crowley & Aziraphale experimented with their powers after they got tired of canceling each other out and that they discovered Heaven's dirty little secret in the process. That secret is that basically the only differences between them are the colors of their feathers and the lack of immunity to hellfire/holy water. Heaven has been telling everyone that some magic was "demonic" and that angels couldn't do it and they also had told everyone that demons no longer possessed angelic powers. Crowley & Aziraphale realized that this was bullshit-- Aziraphale could do temptations and Crowley could still do blessings. It's this discovery that allowed them to start fulfilling each other's assignments. They didn't tell a soul because of the danger of admitting they knew, especially because admitting it would be acknowledging that they had worked together to figure it out. This means that, with the exception of holy water being dangerous to him since he fell, Crowley is effectively still an angel in terms of the power he possesses.

This would mean he can magically make just about anything he could make when he was an angel. It's relevant because Crowley, as we'll see, made the object he slipped into Aziraphale's mouth during the kiss.

When Crowley is in Heaven with Muriel in 2.06, he opens the file on Gabriel's trial, which we are told can only be accessed by "a throne, or a dominion, or above"-- further showing that the truth is that Heaven actually can't strip angels of their power to do miracles. They're just simply telling them that they have done so as a form of social control and casting some to Hell to use them as way to discourage rebellion. This scene also reminds us of Crowley's awareness of this and shows him using his "angelic" powers to get information to help Gabriel.

The same scene with Muriel and Crowley that showed us that Crowley still retains his angelic powers reminds us again of the rank of throne/dominion in Heaven. (I say "throne/dominion" because Muriel's verbal commas and the way the sentence is structured-- along with the scene in S1 when Crowley goes from his throne to dominate his plants lol-- suggests that it is possible to be both ranks of angel at once, which is another topic so we won't go too far into that right now.) Crowley was undoubtedly a throne/dominion-- and it's not even just the fact that he had that hilariously tacky throne in S1. It's relevant here because of ties of throne-related things to what it is that Crowley made and slipped into Aziraphale's mouth.

Thrones are apparently God's chariots. They are concerned with justice and reside in the areas of space "where matter originates"-- which feels very Before the Beginning, right? They are symbolized by big wheels that rotate and by eyes that change color.

Yes, by wheels and eyes that change color... seems very Crowley, no?

The eyes repeat on the symbolic wheels and are in the position of what we on Earth would call ball bearings, apparently looking kind of like this:

...and remember the interconnected, turning wheels in the scroll that Crowley had Aziraphale hold in the moment they met, at the start of 2.01?...

It could be said that Crowley... a throne, a polymath, a scientist, an inventor... a being whose signature thing is the sexiest old car on four wheels... could make ball bearings from his body when he was an angel and, since we know that he still has basically everything but the ability to make holy water from his angel days, it means that he still can make those ball bearings...

...but we also know what else he can make from his body since he's also a demon-- and not just from his hands but from his mouth...

...hellfire.

Yes, I'm saying that it really was a ball bearing in Aziraphale's mouth-- but it was not hollow or empty. Not by a long shot. It was full of hellfire. It wasn't for Aziraphale's memories as Crowley didn't think that Aziraphale had time or opportunity left to extract them.

It was a suicide pill.

The story was calling back to The Original Ineffable Divorce in 1862...

Think about what Crowley saw when he was up in Heaven in S2...

Crowley is the one who put together what happened to Gabriel. He watched the video of Gabriel's sham "trial" and he saw The Metatron basically order Gabriel killed and cast down through the ranks and he knows that Gabriel only evaded Hell because of how it would have diminished the power of the institution of Heaven to send him there. Crowley knows that Aziraphale does not have this same amount of political power. He knows that The Metatron is a shifty motherfucker and that Michael cannot be counted on. He knows how much danger Aziraphale is in.

So, he takes a page from Lord Beezlebub after seeing that they protected Gabriel with the fly... only it's not exactly the same thing.

Beez's fly was given to Gabriel to help save him. It was a place to store his memories to help protect him long enough to keep him safe until they could make sure he was safe and intact. It worked because Beez and Gabriel had time to make a plan together. By the time Crowley is in Heaven watching the video of what happened to Gabriel and then getting back to the bookshop to sort it all out, there's no time for he and Aziraphale to make a plan. They are not alone again until after "The Metatron" has already shown up and, by then, Aziraphale is already on his way to being lost.

Beez is actually the first character we ever see make their signature thing on-screen and when they do? I mean...

Evocative of a kiss, with that big closeup on Beez's mouth. We watch them push the fly gently out of their mouth with their tongue. It foreshadows Crowley making something in his mouth and ties delivery of it to the kiss. We know that Crowley knows that he can make a single object that is of aspects of both Heaven and Hell combined-- like a ball of hellfire tempered, unless consumed, by a ball bearing.

Plus, earlier in the season, there's Gabriel tying The Fly-- which came about as a result of Beez trying to help him manage his depression by helping him to feel safer-- to metaphorical suicide when he spends the scene where the angels show up chasing it around the bookshop, trying to kill it with one of Aziraphale's Bibles, symbolizing just what Heaven is doing to everyone's mental health here...

But this is just where this possibility starts, really... because why else do I think it's a hellfire-full ball bearing suicide capsule that Crowley gave Aziraphale?

Well, for starters, there is all the holy water that is all over this plot at the end of S2... At the end, Crowley stands in Whickber Street outside The Bentley right across from The Dirty Donkey in a nod to-- among other scenes-- the 1967 scene, when Aziraphale brought Crowley the holy water.

Aziraphale knew that Crowley also secretly wanted holy water as a last resort and Aziraphale initially couldn't handle the idea of losing Crowley and reacted badly before eventually coming around to the idea that maybe Crowley needed to have some supernatural cyanide at his disposal in order to feel safer and that he should have that option. Based on the holy water story, Crowley, then, would be the first person to think that Aziraphale needed a suicide pill as an option if he found himself in trouble he couldn't get out of.

In 2.06, Crowley knows how likely it is that Aziraphale could be harmed by the angels and/or sent to Hell-- which is the domain of Crowley's assailant, who is literally Satan, and who hates both of them for, among other things, turning Adam against him. Crowley knows Aziraphale is a good person who wants to believe the best is possible but he also knows how unlikely it is that this is going to go well for Aziraphale. Crowley can't stand the thought of Aziraphale suffering so he gives him a way out as an act of love because Crowley would sooner lose Aziraphale for eternity than see him suffer.

When it becomes clear that Aziraphale is going with "The Metatron" and Crowley is out of ways to convince him not to, he sees Aziraphale look away and start to cry. Crowley goes back and kisses him as a last resort but Aziraphale is initially resistant-- not because this is their first kiss and not even just because they're upset (though that's part of it) but because to kiss Crowley then would be to let him in... (after all of those symbolic doors and "let me in"s happening in the story)... when Aziraphale making the mistake of trying to shut him out.

Aziraphale eventually, though, can't help but let Crowley in a little...

...because, ya know, it's Crowley...

...and, when he does, he opens up a little, and Crowley slips a suicide pill into Aziraphale's mouth.

It's also definitely worth noting that one of the reasons-- the primary reason, even-- why Crowley kisses Aziraphale is because he needs a cover to both make and give the fireball to Aziraphale without being noticed-- and to do so in such a way that Aziraphale would be assured of the ability to have it on his person when he got to Heaven-- even if he lost his clothes in the process, as like what happened to Gabriel when he was cast out. It has to go in Aziraphale's mouth for easy consumption for it to work and kissing him is the only way to do that. What's really worth noting, though?

Crowley's plan hinged on Aziraphale eventually giving in and kissing him back. He couldn't tongue the fireball into Aziraphale's mouth without Aziraphale parting his lips and Crowley knew he would... because he always does. Not that they're regularly trying to kiss while being super miserable lol but mah point is that Crowley knows that Aziraphale can't ever not kiss him. That's not indicative of this being a first kiss-- that's indicative of the complete opposite of that.

Anyway...

Aziraphale knows what Crowley can make and what it is that he just gave him and that's why this is his reaction after the kiss:

The devastation isn't over the kiss itself. It's because Aziraphale trusts Crowley's interpretations of things more than his own sometimes and, by secretly slipping Aziraphale a suicide capsule out of fear and love and delivered in a kiss, it really hits home for Aziraphale that Crowley thinks they are now in a situation where there probably isn't going to be another way out. It's not because it's a first kiss-- it's because it's likely a last one-- and things are so dire that it came with supernatural cyanide.

It's the realization that Crowley really thinks Aziraphale has been fooled and Aziraphale can't bear it because he knows, deep down, that Crowley is probably right and he's embarrassed. 'Pride goeth before a fall' and all that... Aziraphale is lovely-- an absolute poppet-- but he's imperfect, just like us all. One of his worst traits is that he doubles down when he's been embarrassed as a way of trying to save face and retain pride. It's maybe his worse flaw and it gets very dangerous for him here. Crowley is no stranger to trying to stop situations where it could happen, like this paralleling time in 1941:

Some other reasons why it's a fireball suicide pill before we get to what then happened in the elevator...

There's the fact that the show had a scene set in S2 in The Dirty Donkey-- where the elevator is. (As the start of the scene, Crowley & Aziraphale even walk through the door where the elevator will materialize at the end of S2.) Part of their conversation is very possibly Crowley recounting their first kiss-- at minimum, it's about kissing-- and then Aziraphale makes it also about balls, combining the two to, among other things, foreshadow The Final 15:

The wordplay here is already threefold in this scene off of Crowley's joke that follows Aziraphale remembering Jane Austen's balls: balls (testicles), the phrase that x person "has balls" (is badass), and balls (of the cotillion/dancing variety). This continues into the meeting that Aziraphale hosts-- the disaster of a ball that goes straight into the end game of the season. Here's Aziraphale making yet another ball-related wordplay joke-- this one, during The Meeting Ball:

"We're having a ball" as in they're literally having a ball-- a party-- but also the idiom "we're having a ball" meaning "we're having a great time." We are now up to four different meanings of the word 'ball' in S2, stretched across different scenes, emphasizing the importance of it. One of the missing ones still needed here to complete this idea is a literal ball-- and the ball bearing would not only meet this idea but would then make all of the ball-related wordplay have had the purpose of building towards it. We think it's building towards The Meeting Ball-- and it is-- but all of it, including The Meeting Ball, would actually then be building towards the hellfire ball, which is the actual ending of S2.

Then, there's what this all has to do with the eccles cakes...

Yes, eccles cakes lol... Eccles cakes, as a lot of us already know, are popularly referred to as "fly cakes", off of how the currents sometimes look in them, but the significant thing here is that, despite their name, eccles cakes are not actually cakes at all-- they are really pies.

Ball bearings are also used in Good Omens' favorite metaphor of food to weigh down dough when baking pie crust. Pie weights and ball bearings are basically the same things, just put to different use. It means you literally cannot make eccles cakes from scratch without a jar of pie weights... which are just, structurally, the same thing as ball bearings... and Crowley can make them. You also make pie dough by first rolling it into a ball.

Which is likely why this hilarious moment exists:

Please hold The Cake-Pies of Symbolism, my pie (and Pi)-loving dear...

Crowley's face at having to stand there holding some little pies 😂...

The eccles cakes-that-are-really-pies go along with this theory as well because look how the show presented the forthcoming apocalypse to us back in 2.01:

The horse is Crowley, the rider is Aziraphale, and they're headed for Armageddon-like mental health disaster-- all ushered in by the four eccles cakes, representing Gabriel, Beez, Nina (who suggested & gave them the eccles cakes) and Maggie.

Presumably, The Lords of the Flies are the two eccles cakes that are already canoodling on the back of the plate while Maggie and Nina are the two in the foreground who are aligned but not yet together. Crowley's S2 plot is largely working at the behest of these wonderfully rebellious pies. He looks after Gabriel, finds out what happened to him and connects it all to Beez... and this is after he spent the season on his vavoomy Operation Lovebirds to get Maggie and Nina together. He's responsible for the pie crust-- the containers of the eccles cakes-- in a show obsessed with containers. Crowley is, symbolically, a jar of pie weights in being form by way of his actions-- which is suggestive of the fact that he can probably physically make them. (There's also: "Just a few million years to bake," which Crowley said of his stars-- which he made-- in the opening scene of the season.)

"Nina, what do you sell that calms people down?"

Calm is from the Greek kauma, which means the heat of the day. Heat, as in slang for a weapon. Heat, as in hellfire. Heat, as in what's needed to bake. Heat, as in passion. Heat, as in "bringing the heat." The heat of the day-- the sunny daylight of The Final 15. Eccles cakes-- really: pies-- calm people down... they bring them heat, in every possible way, and it sets them on a path down-- to Hell.

Then, there's Agnes Nutter...

When The Witchfinder Army came to kill Agnes, she hid gunpowder (a weapon) and roofing nails (the construction-related metal that enabled it) in her dress. Agnes blew up-- she became a literal. fireball. Crowley wasn't necessarily suggesting that Aziraphale turn himself into an Agnes-like bomb in Heaven when he gave him the capsule but he was giving him a weapon involving fire with which he could kill himself if he had no other way out.

Then, there's the theme of suicide in examples from earlier in the season:

Crowley saving Elspeth (on the night Crowley was dragged to Hell)... The bit when Aziraphale then calls Crowley from Edinburgh in the present and tells him that he's read that Dalrymple left in disgrace and killed himself... "The Bananafish" being a short story about trauma by J.D. Salinger which ends with a traumatized man suddenly killing himself... Crowley setting Gabriel up to jump from the window and then stopping him from doing it...

There's also the fact that the end of S1 was Heaven and Hell forcing Crowley and Aziraphale into forms of suicide (getting into hellfire/holy water) and the "Aziraphale" in the Heaven part of it was Crowley spitting hellfire-- at Gabriel, no less, whose story is what jumpstarts S2.

Then, there's that the song that is The Clue to everything in S2 is "Everyday", the significance of which is that it's a foundational song of American rock 'n roll. Rock 'n roll is a blend of musical styles that actually wouldn't exist without first the big band/swing that Aziraphale loves that came before it-- symbolizing how Crowley & Aziraphale paved the way for Gabriel & Beez. There's another song, though, that, like "Everyday", is from the pivotal rock year of 1957 that is equally influential and is enormously Good Omens-y, in the sense that it cleverly uses wordplay to the effect of barely disguising sexual euphemisms and often through amusingly church-y language:

You shake my nerves and you rattle my brain/Too much love drives a man insane/You broke my will/But what a thrill...

Goodness gracious... great balls of fire...

[Also: less part of the theory and more just a possible nod but... "The Metatron" brought Aziraphale a coffee, there's a threat of non-existence, and Aziraphale might have gotten a 'kiss of death' from a being who is, essentially, a cherry pie lol... so, those of you who know that other greatest television show to ever television show might see a bit of a nod to Twin Peaks in here as well.]

Speaking of kisses of death... the film that popularized the word "vavoom"-- and which GO S2 is homaging all over the place-- is called 'Kiss Me Deadly.'..

So, after the kiss, Aziraphale gets the capsule and keeps it tucked into his mouth and he's gone too far with the conversation and doesn't want to admit that maybe he's wrong and Crowley is right. Crowley goes out, "The Metatron" comes back in, and Aziraphale keeps looking at Crowley staying by the car out the window and he's a bit more nervous now ("what about, um, my bookshop?"). Even if he still wants to be right, he's beginning to doubt even more that he is.

He almost tells "The Metatron" to go. He almost goes to Crowley. We see him start to say that he thinks he made a mistake but he doesn't go through with it. He's too embarrassed. Fraulein Maria can't face The Captain and is trying to run back to The Abbey over here.

Aziraphale goes out with "The Metatron" and the significant moment is this revelation: "We call it 'The Second Coming'."

This is the moment that Aziraphale realizes for sure that he's been tricked and there is no Supreme Archangel job for him. The Metatron doesn't want to change Heaven or save anybody-- he wants to destroy the world, same as he always has-- and there's no way that he'd ever trust Aziraphale to carry that out when Aziraphale is who stopped the first round. Heaven will never admit they did wrong by Crowley-- to do so would be to collapse the system because then every demon would want to appeal their own status and demand justice and the Heaven/Hell regime would fall, in the sense that their little supernatural empire would crumble. The Metatron would never allow that and Aziraphale realizes in this moment for sure that he has been played for a sucker.

It's still possible that, at this moment, Aziraphale might still believe that this being who has tempted him with the possibility of the justice he wants for Crowley more than Crowley actually wants for himself-- and with false reassurances that he and Crowley could be together forever-- actually is The Metatron. Or, Aziraphale might be starting to get the sense of what's actually happening but, either way, he now knows that he's been fooled. He knows now that while he and Crowley both got some things wrong (suggesting they run off and proposing suddenly were not great moves on Crowley's part)... about this bit anyway? About being in danger if he believes the being who came to the door? Crowley was right.

So, Aziraphale has a choice: does he go to Crowley or does he get in the elevator, knowing now that to do so is to go to a form of death?

He can't face Crowley. He knows Crowley would forgive him and just wants him to be safe but, in the moment, Aziraphale is too ashamed and too embarrassed to admit that he was fooled and to deal with how awfully he just behaved. He's also exhausted from being hounded by the weight of his halo and Heaven for thousands of years. Negative thought cycles in overdrive-- he's never truly believed that he deserves Crowley and he has convinced himself that maybe Crowley might be better off without him. Maybe they just don't get a happy ending and maybe Aziraphale is so tired and can't run and hide anymore and just wants it to end.

Imagine spending thousands of years in service of an organization that also doubles as family and who abused you and abandoned you and who now wants to kill you... and you so hoped that change was possible that you clung to the idea beyond a point of reason-- to the point of hurting the one you love, with whom you have the only real love you've ever known. And you know he'd forgive you in a heartbeat because he loves you and he just wants you to be safe but you can't face him because you can't yet face yourself... that's Aziraphale deciding between Crowley and the elevator.

Aziraphale can barely glance over at Crowley and when, he does, it's also The Bentley he's looking at because he's telling the car to play Crowley their song. Crowley said "no nightingales" but Aziraphale says, in response: "A Nightingale Sang in Berkeley Square." His last moment on Earth and he uses it to basically leave a suicide note for Crowley that says nothing but I'm sorry. I love you.

Their song plays when Crowley starts the engine of The Bentley, which calls back to the first time they met in the Before the Beginning scene that began the season and showed how they started the engine of the universe together.

Aziraphale might be trying to warn Crowley about Armageddon by sending an "engine trouble"-type of message or he might be calling back to when they first met or, as I suspect, he might be doing both but the show, at least, is referencing Before the Beginning here with this, whether or not Aziraphale intentionally is.

So, Aziraphale? He makes his choice. He gets into the elevator...

...and he swallows the fireball. Which we can see him do here:

Or, as this was foreshadowed in S1 by the being whose own fall and subsequent arrival at the bookshop door set all the events in this season into motion:

(The eerieness of the fake grin on Gabriel after seeing how it foreshadows S2 ending with Aziraphale's mad grin...)

Because, when all is said and done, this poor bastard really would have a death-by-swallowing-something story over here, wouldn't he? Can they just hurry up and destroy the Heaven/Hell system so Aziraphale can have food and sex in peace already, please? 😄

Aziraphale knew he'd been played and he didn't want to go through whatever came next. He didn't want to reach the top floor of Heaven because he knows that only forms of death await him there. They'll take his memories. They'll cast him to Hell. Being a demon is no picnic and Aziraphale has seen that in being with Crowley for so long. Satan is not exactly the biggest fan of Aziraphale and Aziraphale, better than most, knows what Satan is capable of. He doesn't want any part of that. He ingested a suicide pill to avoid being captured by the enemy.

Crowley gave him the pill because angels are not immune to hellfire. That's what made it a suicide capsule, right? It was supposed to kill him within seconds. It was supposed to be quick and relatively painless-- a way to escape the horrors that might await him. Even when Aziraphale is at his worst-- as Aziraphale was in their last scene in bookshop-- he is still a pure-of-heart, lovely being to Crowley because Crowley loves Aziraphale as he is-- imperfect. Just enough of a bastard to be worth knowing. It never occurred to Crowley that the capsule might fail. Why? Because Aziraphale is, always and forever, his angel.

Both Crowley and Aziraphale thought the fireball should have protected Aziraphale from pain and suffering by killing him almost instantly once he ingested it.

By that measure, Aziraphale should have burst into flames in the elevator, seconds after he swallowed the pill just after stepping inside.

But he did not.

We watch as the seconds start to tick by... and we see the realization play out on Aziraphale's face as each second that passes is another one where he's still here...

...the look gets more and more unhinged as the elevator keeps climbing until we get the slightly mad dark grin as the last shot of him before a fade to a deathly black... with Aziraphale having spent the final splitscreen since he got into the elevator on the other side of Crowley, symbolizing what's happened.

In the elevator scene, we are watching the dawning realization play out on Aziraphale's face as the fireball doesn't work and there's only one reason why it wouldn't-- because he's no longer an angel.

Aziraphale has been sauntering vaguely downward for the season and maybe for awhile before then. He's been letting the darkness in, more and more, throughout all of S2. We have been watching his fall happen. The 'falling from a great height into a pit of boiling sulphur' part of falling? Ceremonial. An aftermath of sorts-- an additional punishment. It awaits Aziraphale when he gets off the elevator in Heaven but it's something we likely don't really need to see and never have seen in the show yet because that's not actually the main point of a fall. By the time you're literally falling from a great height, you've actually already fallen.

Aziraphale's determined-- but also just really half-mad-- final grim smile in the elevator over his understanding of what's happened is both the pain of thousands of years of religious trauma and abuse-related misery and a bit of completely unhinged I'm gonna burn this place to the fucking ground fury.

Aziraphale swallowing the capsule also parallels Gabriel having to "consume" The Fly to open it. The Fly went through Gabriel's eye and allowed him to "see"-- it give him realization and understanding by returning his memories to him. For Aziraphale, he swallows the fireball and it also gives him a kind of sight-- realization and understanding of what's happened and what's to come... all of this also in the moments before his memories (and, so, his sense of self/his life) will likely be taken from him.

(For a time-- he'll be fine eventually. *mantras* South Downs Cottage, South Downs Cottage...)

"And from his mouth go burning lamps and sparks of fire leap out." The Job quote on the matchbox. The matchbox contained the fly-- it's the equivalent to the ball bearing containing hellfire. Works now on several different levels but one of them then is: And from his mouth (Crowley's mouth/the kiss/the fireball/Aziraphale swallowing the fireball)...

...go burning lamps (the light that goes out in the bookshop when Aziraphale is in the elevator)...

...and sparks of fire leap out. Several meanings:

Literal sparks-- in that Aziraphale can now spit hellfire, like how Crowley did in his body in Heaven in S1.

Sparks of fire leaping out, in the sense that Aziraphale has made the leap-- he is a demon now.

Lastly, though... sparks of fire leap out... as in, Hell (and Heaven) hath no fury like this very, very, very pissed off Angel of the Eastern Gate whose whole thing is freeing those imprisoned by corrupt systems...

Visually paralleling the elevator with a grey wall behind him and light/darkness alternately striping Aziraphale is the 'Aziraphale and God' scene in 1.03, setting up its sister elevator scene in 2.06, where Aziraphale realizes that he has been tempted by Satan and has fallen. (Ironically, a realization about having fallen that happens while going Up in an elevator.)

God: "Aziraphale. (dryly) Angel of the Eastern Gate. Where is the flaming sword I gave you, Aziraphale?"

Aziraphale, unintentionally foreshadowing the fuck out of the plot:

"...must have put it down here somewhere."

Yeah. 😉 Give 'em hell, Aziraphale.

Bonuses:

The awning of a new age/Dawning of a New Age joke. An understanding/a daybreak that begins a new era...

"Oh, listen, I think it's about to happen-- the 'awning' of a new age." Yes, indeed, Crowley. A dawning of a new age was imminent...

...and, finally, if you substitute 'Aziraphale' for his parallel of 'Job' in these sentences, Bildaddy summarized the season endgame quite nicely in 2.02:

#ineffable husbands #good omens #good omens meta #crowley #aziraphale #good omens 2 #good omens theory #aziracrow #good omens speculation #good omens clues #good omens analysis #good omens parallels #long post but worth it #tw suicide #tw depression

195 notes · View notes