a foreigner is a foreigner everywhere (variations on the theme of home)
[ Clementine von Radics, ‘Courtney Love Prays To Oregon’ // The backyard of my family home with my parents’ first dog, in Boda, Hungary, early 2000s // Fatimah Asghar, ‘How’d Your Parents Die Again?’ // Brandon Melendez, ‘How to Write Heisenberg’s Uncertainty Principle into a Promise to Return Home’ // My dad on the main street of the village I grew up in, 2005 // Melendez, ‘How to Write Heisenberg’s Uncertainty Principle into a Promise to Return Home’ // Keleti Railway Station in Budapest, 1900 // Melendez, ‘How to Write Heisenberg’s Uncertainty Principle into a Promise to Return Home’ // The hills of my childhood landscape, the Mecsek mountain range in South-West Hungary // Casey McQuiston, Red, White & Royal Blue // My childhood home in Hungary, 2004 // James Baldwin, Giovanni’s Room // My parents’ first house being built by friends and family members, around 1995 // @wvterways on tumblr // The iconic 25-story high-rise building of Pécs, my birthplace, 1985. The building became a ghost town in 2003 (incidentally, the year of my birth) and was then demolished in 2016 // @waitineedaname on tumblr // Uránváros, (a city district in Pécs, Hungary) in 1960, the neighbourhood of my grandparents’ apartment // @ohevoyev on tumblr // Danez Smith, ‘from “summer, somewhere”’ // Hungarian Parliament Building, 1896 // @electraheart2012 on tumblr // Analogue picture of Kőbánya-Alsó (Budapest X. District), the neighbourhood of our Budapest apartment // @cruellesummer on tumblr, lyrics from taylor swift’s my tears ricochet // Barbara Cassin, ‘Odysseus and the Day of Return’ in Nostalgia: When Are We Ever at Home? // Stage design of the 1975’s 2022 ‘At Their Very Best’ Tour // Bohemian Betyárs, Lebegő // The campsite of the summer camp I used to go to as a child, Óbánya, Hungary // Leigh Bardugo, Rule of Wolves // Cassin, ‘Odysseus and the Day of Return’ // Trinity College Dublin (my university), covered in snow, 1994 // Neil Gaiman, American Gods // Esterházy, Péter. ‘A mi a bánat’, Élet és Irodalom, 1996. 51–52.]
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the first thing i noticed during anya’s house tour for yor is how well decorated and filled with toys her bedroom was
twilight didn’t have to put that much effort into it. the rest of the apartment is nice, but it’s only as much as he needs to appear “normal”. he could’ve just given anya a bed and a desk for her studies, but he painted the walls and put up decorations. he gave her new toys and knick knacks and books so that nearly every surface was covered in clutter. and there’s a good chance that he chose a lot of those items himself.
when he met her she was stuck in a crowded orphanage and has bounced around several families in a very short period of time. the brief glimpse into her past shows us that she was experimented on by people that didn’t seem to acknowledge her needs as a little kid. and within the first few days of living with twilight anya was kidnapped from what should have been a secure place for her to live. so the next place they go he made sure to provide her with a safe space. he allowed her privacy and never stormed in to scold her, so she had no reason to fear her own room.
twilight might be hard on her when they study, but in every scene where he enters anya’s room we see him soften. it’s when she’s most vulnerable, like when she falls asleep at her desk or bawls over the mangled penguin toy. this is the spot that reminds twilight of his daughter’s age, and it grants him a space to discard his mask and recognize his affection for her.
twilight has no idea how to interact with children, but he needs anya to trust him for the sake of the mission. so he gives her what he hasn’t had since his own childhood: a home.
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STILL NOT OVER THESE PARALLELS BTW
They make me want to KMS
Their hair covering their faces, Izuku unable to smile and wearing his hero mask and toga wearing her fake sad smile.
Toga wearing her school uniform to cover up herself as a normal girl, Izuku wearing the giant orange jacket to cover himself as bigger and cooler than he feels
The DOLLS all being stabbed, and the ITEMS are collapsed and dirty on the ground
LIKE MY GOD THEY ARE TWO SIDES OF THE SAME COIN
And the thing is, the reason why they have to parallel each other sm, especially during the time when these drawings were released, is BECAUSE THEY BOTHVHAVE SUCH STRONG FEELINGS OF SHAME AND DESPAIR BC OF WHO THEY LOVE
Bsisbsisjishdie I think about them so often the brainrot is strong
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Ik the good omens fandom has different takes on God as a character, but I like the idea that she DOES have an ineffable plan, and Heaven is doing their absolute worst job carrying it out.
Most angels never talk to God, and they're usually selfish, they don't do the right thing (only what they're told), and it's even possible they're working under a corrupt power (like the Metatron). I like that theory because Metatron IS the barrier between God and the angels. He could easily lie to them and change plans, and we the audience know that "friendly old man metatron" swindling Aziraphale is not what he seems.
But from the beginning, we see inconsistency. Crowley falls from heaven after asking questions/hanging out with the wrong group while Aziraphale is allowed to lie about the flaming sword and change Heaven's plans. God can see how much he cares about humans and the earth by his actions (Crowley being the same), which makes me think that him getting away with it is intentional, not inconsistent or neglectful. ESPECIALLY if Aziraphale and Crowley run heaven and hell respectively in season 3. They have the power to change things, just like they stopped the world from ending the first time. I think Crowley and Aziraphale ARE the ineffable plan.
Their love could bridge the gap between opposing forces in a way that it couldn't if they were both angels. After all, both heaven and hell think they're doing the better thing while they're both not. Crowley and Aziraphale are the best of both sides.
If bringing them together was God's plan, it'd be a powerful story for queer Christians!! A lot of us have been hurt by the church, but we hold on to God's love, which doesn't fail us. We stay in a religion with a history of fighting queerness not because we're all brainwashed, but because we wholeheartedly believe in a God that loves us. Sometimes I see good omens' heaven as an analogy for toxic churches, and I'd love nothing more than for Aziraphale to realize heaven is working against God. Not to mention God using a gay couple to save the world/save heaven from corruption?? I'd kill for that storyline
Secondly, Aziraphale's devotion wouldn't have been for nothing. If God was awful the whole time, it defeats the times he and Crowley reached out, and the moment in the GOs1 finale where Crowley says, "what if you're going AGAINST God's ineffable plan?" to Gabriel and Beelzebub. (It'd almost defeat the purpose of her being the quirky narrator following their story, too.)
Even Crowley, never fooled by "heaven is all good" calls for God in his time of need ("God listening? Show me an ineffable plan.") (Possibly when he reaches to the sky in order to stop time) (Calling for God before Satan in the burning bookshop) (Looking up and muttering "God" after realizing Aziraphale is going to leave him in s2)
Lastly, after the trauma that both Crowley and Aziraphale went through, with Crowley falling and Aziraphale coming to terms with heaven's corruption (and both being mistreated by their side) it'd be nice to have been for a reason. They have every right to grieve and be angry for all that they went through, and the centuries that they weren't supposed to love each other, but I believe the series will end on a positive, sweet note, like the rainbow after a storm.
Like Job, they're losing almost everything (their relationship as it was, the bookshop, and the life they carved out), but they have each other. I think they'll lose everything to save EVERYONE, and in the end, the reward will top the pain. No holding back, no forces hunting them down, just them together after a PAINFULLY long time with everything they'd wanted.
We know that God doesn't get around to answering many questions, but her speech to Job was in part to say "trust me"
She laid the foundations of the earth. She made every living thing. Job couldn't see past the destruction of his life, but she has a plan. Job is a valuable human being, but he doesn't have the power and knowledge of God. God will share her plan when he can make a whale. Otherwise, he can trust that "Most things are fine in the end"
*Aziraphale voice* That's ineffable!
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