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#s1 meta
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fr tho i understand why crowley wants them to run away together and run from all of it but he just seems to have forgotten that aziraphale does not cower, he doesn't back down, and he. does. not. run.
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and honestly, crowley knows it:
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idliketobeatree · 2 months
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The lighting in the S1 1941 flashback is so painfully dark I was rewatching it on a 150% brightness and perhaps I am five years late, but how come I've never noticed that this
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is how Aziraphale gazes at Crowley before the "little demonic miracle of my own"???
This is him before the love realisation, just after Aziraphale miracled them both safe from the bomb exploding on the church with the Nazis. No heartwarming acts of service yet — best to his knowledge, Crowley was only there for moral support, because he "didn't want him to get embarassed". And his gaze is— I don't know what to say. Like it would kill him to look away. So fond, so immersed, "oh God, there you are", like hundreds of years have passed, not decades since they saw each other last. Books? What books? What air raid, what war?
Arguably the best part of the scene happens literal seconds after. If you pay close attention to the whole shot, you'll spot the brown satchel on the side. Which Aziraphale would notice earlier too, if he could focus on anything other than Crowley.
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gammija · 2 months
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joking aside, while jonny, alex and tim fearon are all credited as [ERROR], the casting image clearly has different garbled text for all of them. So it seems like [ERROR] is something like a status condition, though how exactly you get it... dimension-hopping? avatarhood? being a computer and/or tape recorder? who knows
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blakbonnet · 6 months
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They saved each other 🥲
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concidineart · 2 months
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“What did you do?!” Was feeling some way about fWhip and his salmon. He put the souls of the slaughtered into mechs and no one talks about it.
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aduckwithears · 7 months
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I was so distracted by the Bentley playing Good Old-Fashioned Lover Boy as Crowley raced back to the bookshop this season that it didn't occur to me that we'd been in this position before.
Spat with Aziraphale?
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Check.
Threatened by demons?
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Check.
Rushing back to the Bookshop with the Bentley playing something overly romantic?
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Check and check.
Friends, it is ENTIRELY POSSIBLE that Crowley was having major flashbacks to the bookshop burning and Aziraphale being gone, which is why he was setting new records for the drive through central London. Maybe everyone else already thought about this but I didn't until right now and I am not ok.
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celluloidbroomcloset · 5 months
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Man, Ed tried to full-on sacrifice himself for Stede by saying that he killed Nigel. He was willing to straight-up die to keep him safe.
I wonder how anyone could imagine that Ed would feel fine with Izzy ever again, if he ever felt fine with him at all, knowing that Izzy sold them out to the English with the sole goal of getting Stede executed, then tried to buy Ed from the English (and what a racist undercurrent that has).
Throughout the season, Ed says over and over exactly what he wants, and shows exactly who he wants, and Izzy ignores it at every turn because he thinks he "knows better."
Then Izzy stands there with his mouth open as Ed prefers to destroy Blackbeard than live without Stede.
Because all Ed wants is Stede.
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that-ineffable-devil · 5 months
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I know I already posted about this but it was on a reblog that I think got buried under the original and I need someone else to lose their mind with me.
So the wonderful human that commented on this post about Hell's understaffing problem made me rethink something that I think a lot of us are sleeping on: Hell is RATIONING something.
At the beginning of S2 in between other remarks, Shax mentions that Beelzebub has put some lower ranking demons "on half rations." But we know celestials and infernals generally don't eat, so surely it's not food, right?
So what could they be rationing?
And then I remembered how both Heaven and Hell keep close tabs on the miracles done by Crowley and Aziraphale on Earth--even the little things.
And how, in S1, Hastur is stuck in Hell waiting for "maintenance" to come fix a leak in the ceiling. It's played off as a joke and it's something that would be so mundane for a human in an office or apartment building, so we don't give it much thought... But they can do miracles. They could literally fix that with a snap. We've seen Crowley fix the Bentley, so surely a little leak is nothing.
And Aziraphale gets reprimanded for doing "too many frivolous miracles," which we initially ignore because it's exactly the kind of bureaucratic/corporate BS we'd expect from Heaven and Hell.
But what if it's not just BS?
What if the power sources used by angels and demons are not infinite? Worse, what if they're not replenishable?
What if Hell is rationing miracles, because there's not enough power to go around?
And if so, where's the power coming from?
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thegeekyartist · 2 years
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The CONTRAST of Guillermo in s1 during the Orgy episode, calmly saying he needs to leave the room before he says something he'll regret, to which both Laszlo and Nadja protest to Nandor, "Are you going to let him get away with that??"
To THIS EPISODE where Guillermo literally DESTROYS A ROOM while screaming, and Nadja's first response is "Are you okay?", and then proceeds to help him???
Every episode they all get closer and closer to an actual family and I am LIVING for it. The character development is unmatched.
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it makes me a bit sad to see the asexual ineffable husbands fading into the background of the fandom. don't get me wrong, i actively enjoy and have no problem with content + headcanons that portray them as allosexual or allo-adjacent. it's fun and there are HELLA talented people literally everywhere you look!
but when i discovered good omens about a year before season 2 came out, it was the first time i had felt represented onscreen and within a fandom. here was an asexual love story widely accepted by the fandom, and it was beautiful! but i don't really get that vibe anymore for some reason? people who headcanon aziraphale and crowley as asexual (i personally headcanon aziraphale as a sex-favourable orchidsexual and crowley as a sex-ambivalent ace) have sorta been pushed into the corners of most online fandom spaces, and while i don't think it's intentional i do think it reflects a lot of the effects that amatonormativity has on the way we consume media.
we've been trained to favour depictions of sexual relationships in media because society tells us that they're more valid than non-conventional ones (think qprs, non-sexual romantic relationships, fwbs, etc). we're conditioned to view asexual romantic relationships as "boring" (steven moffat you're not part of this but i'm looking at you). when we see a relationship like aziraphale and crowley's, which doesn't outwardly appear like a traditional romantic relationship, we're left wanting more and passing over the people who have already found everything they want in the ineffable husbands' relationship. i think the theories and fanart and writing are gorgeous and i'll never not love seeing a fandom (especially one so unbelievably close to my heart) thrive, but i miss seeing myself so wholly represented by the fandom's general treatment of its characters
(sorry if this was poorly worded i am. very tired right now and wanted to talk about my little guys /gn)
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just putting the thought out there that people may disagree with; aziraphale is not in the same place that he was at the beginning of s1. originally, he held the bookshop near and dear for a number of reasons, but dominant amongst them being possibly because it is his own safe harbour, something that is intrinsically his, a literal sanctuary for him to delight in the other earthly pleasures that he loves.
s2 aziraphale is not in that same place; not because the bookshop means nothing, but because something else - someone else - means more. he doesn't catch crowley's meaning, what the bookshop means both literally and metaphorically to crowley, but he instead thinks that crowley thinks that the bookshop is still the most valuable thing aziraphale has.
but to aziraphale now, compared to when he was faced with the threat of losing it to armageddon, the bookshop was never going to last forever, but they could. they could last forever. if he has crowley, everything else can wither away, it means nothing, because crowley means everything.
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spenglernot · 6 months
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STORIES TELLING: THE BREATHTAKING EFFICIENCY OF WRITING IN OUR FLAG MEANS DEATH
One of the things I most admire about Our Flag Means Death is the efficiency of the writing. So much happens so fast, but nothing is dissonant or feels like it comes out from left field. I think part of the reason it works so well is that the subtext does a lot of heavy lifting; setting the foundation for what comes next. There is always more than one thing being conveyed. It isn’t simply storytelling, it’s stories telling.
Case in point: Ed's stories about underwater beasties...
S1 E6, The Art of Fuckery - Ed telling the crew a story about the Kraken. S2 E5, The Curse of the Seafaring Life - Ed telling Stede a story about fishing.
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S1 E6 Young Ed sees the kraken (himself). It’s foreboding, powerful and uncontrollable.
S2 E5 Ed clearly delineates between himself and the beast (rage, violence, protection). He is the man (an adult, above the water), conscious and in control. The beast is beneath the sea (subconscious).
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S1 E6 Ed describes the kraken as hideous, rising out of the water (of its own volition) while young Ed stands nearby, powerless.
S2 E5 Ed describes pulling to bring the beast out of the water. This is a conscious act, over which he has control.
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S1 E6 Ed describes the kraken attacking, before Ed even knew it had done so.
S2 E5 Ed describes triumphantly pulling the beast from the water.
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S1 E6 Ed describes his warning about the kraken coming too late, and the kraken takes its victim. The kraken is in control.
S2 E5 Ed shows Stede the beast he subdued: a small fish.
Why is this so damn heartbreaking and funny and touching?
We have two stories that are highly entertaining and work within the context of the episodes to move the narrative forward. But they also say a whole lot about how Ed sees himself at each moment in time.
In season 1, the beast is safely underwater, but it can always rise, with overwhelming strength and power, to wreak havoc and keep Ed safe. It’s not something Ed is fully in control of, and it can (and later does) do tremendous damage.
In season 2, episode 5, the beast is safely underwater. Ed has to put effort into keeping the beast on the line and reeling it in, but he is in control of it.
And, while the small fish silhouetted triumphantly against the moonlight is beautifully sweet and funny, what made me crumple on the floor is what it says about how Ed is beginning to manage the kraken (himself) now.
The kraken is still there, under the water, and maybe Ed isn’t ready to control it in its full form, but he’s working on it. He wrangled a small sea (subconscious) beast and is celebrating his success in that.
And then Stede says this:
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(Sob. You're such a good boyfriend right now, Stede!)
Yeah, Ed. That is really beautiful. Good on you, mate. Keep going.
This post was written before OFMD season 2 fully airs. No idea what’s going to happen in episodes 6, 7, and 8 (and I’ve generally fled social media to avoid spoilers). I’ll be back, looking at everyone’s fascinating posts after the finale airs.
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novafire-is-thinking · 3 months
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“I will NEVER side with a Prime!”
I find it interesting that Skyquake specifically says “I will never side with a Prime.”
He could have said, “I will never side with you,” or, “I will never side with the Autobots.”
But he didn’t.
When Skyquake looks at Optimus, he doesn’t see him as an individual. He doesn’t see the ideals Optimus represents, separate from the title.
All Skyquake sees is a Prime—a symbol of the old ways he swore to destroy.
When Optimus extends his offer to work together towards a better future, Skyquake can’t accept this because he’s locked in his view of the past.
Optimus is running towards a future he wants to see.
Skyquake is running from a past he never wants to see again.
An alliance never would have worked.
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queerly-autistic · 3 months
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Stede getting carried away with all the affirmation and attention he receives after killing Ned, especially after a lifetime of being bullied and belittled and not taken seriously and being treated like a failure, isn't some striking indictment of him as a person or something that makes him bad or irredeemable.
It's the most understandably human thing in the world.
The tendency to get swept up in people being nice to you, and making you feel good, even if at heart you might know it's fleeting or unhealthy, is probably one of the most common human flaws. And it's especially something that gets you if you're someone who has experienced bullying and rejection. I know for a fact it's a weakness I have (especially as someone who has, like Stede, spent a lot of my life being bullied and made to feel small), and I don't know many people who wouldn't at least struggle a little bit with it.
It's not just generally common in people, it's something we see throughout the show itself. Black Pete is desperate for adulation and approval. We see Ed get carried away at the fancy party in almost an exact mirror of Stede in the Republic of Pirates. It's such a predictable human thing that Zheng uses it as a tried and tested strategy to manipulate people. Heck, even Stede exploits it in Izzy by flattering him with talk of 'Blackbeard said you taught him everything he knows and made him the captain he is today!'.
Seeing Stede get carried away in the Republic of Pirates almost makes him more endearing to me because it's such a recognisable and understandable misstep for him to make (just like it was when Ed made that same misstep at the fancy party) given both his history and the fact that he's a human being.
Stede is a fundamentally good and kind person who has some serious and realistic flaws because he's a brilliantly written well-rounded character, and that's why I love him.
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mickeym4ndy · 2 months
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Sometimes I think about how Mickey & the Milkovich’s very first storyline is centered around them getting revenge on someone who they think hurt their little sister.
Mickey was just scouring the south side with a bat prepared to do ANYTHING for her without any question or need for proof, clearly so protective of her & his family. And the way no one’s even surprised by it shows that this isn’t the first time the Milkovich boys have gone after someone they think has fucked with Mandy.
They grew up in a house of horrors where all they had was each other, it almost seems like if they couldn’t protect each other from Terry, then at least they could do whatever they could to protect each other from everyone else.
And then that side of their dynamic which was set up as such a core element of their family was just forgotten about and never really explored again after, but I WISH we could’ve seen more of it.
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3lostyears · 4 months
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i adore how protective nine is of rose but i also think what is regarded a lot of the time as ten not caring about or valuing rose in the same way is him having more faith in her. it’s kind of like when people complain about rose not challenging ten the way she did nine when they’re just much more on the same page in s2 because they know each other better, so she doesn’t really need to.
in theory, ten could have yelled at rose in the idiot’s lantern for not waiting for him when she confronted magpie. but he doesn’t, he loses his mind trying to save her (VERY nine) and also acknowledges that her observation was spot on. the whole “domestic approach” line gets attention but i have never really interpreted his intention as being to insult her; in some ways, i feel her reaction is a holdover from nine, who did put down the idea of domesticity (and also actively manipulated her into leaving her mum in world war 3 which never really gets mentioned).
and of course, rise of the cybermen is a parallel to father’s day. the doctor starts out harshly talking to her the way he did when he was nine, forbidding her to see her father, but then he gives in when she just looks at him. which is exactly what he does that in father’s day too of course.
like, why do you think she refuses to be sent away in doomsday, another direct parallel to parting of the ways? she’s saying she’s not a kid anymore, that she already made her way back to him once before. she can’t be protected from the hard choices anymore and she won’t be, because she understands everything that it means to be the doctor’s companion. you never see it on-screen but clearly sometime between tooth & claw and doomsday she asks about what happened before he regenerated; she has to learn that she is the bad wolf, especially when she is to continue her journey of turning into nine in s4 and making hard choices. ten wouldn’t have known that, but it’s a mark of the respect and faith (he believes! in her!) that he stops protecting her from the truth.
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