Mum Said It's My Turn To Do The Good Omens + Text Posts Meme Pt. 3 (pt.1 / Pt.2)

Sometimes I’m ok

Sometimes I remember this

And I’m not ok anymore

Doctor Who text posts: River edition – 2/?

It happened one night, in 1941.

(aka how to get away with an insane amount of romantic tropes and innuendos) Part two.

I had to split this into two parts due to this app’s absolute lack of common sense in understanding that 10 images are not enough as a visual support for the 1941 flashback. Here’s the first part.

Now, where were we?

…

Yes, right. The proof that Aziraphale is indeed the strongest angel.

“I'm a lonely GI anxiously awaiting the arrival of the Ladies of Camelot. Amaze me. […] Go on, Mr. British man, wow me with your miracles.”

Yes, Aziraphale, wow him with your…

Jokes aside - or not… listen I can’t get over the level of shameless flirting in this whole American GI/magician roleplay. ANYWAY the real point here is to show us how comfortable they are with each other. Keep in mind that this whole “consorting with the enemy” thing is technically forbidden by both heaven and hell. And yet here they are: at ease, flirty and even a bit silly. Aziraphale with his ♪ The West End ♪ little dance, Crowley with his American accent: this is (chronologically) the first time we see them together in the bookshop and it's as if we’re taking a glimpse of domestic life. Or, rather, what it could be. The mood of the scene is light and fun and, for a while, they’re simply being themselves, without all the heaven/hell drama.

Aziraphale is often belittled by others. During season 1, Gabriel not only doesn't understand why Azi is consuming food, but in episode 4 he tells him to “lose the gut”. Shax call him “The softest touch. The one who went native” and then proceed to mock him “Do you need more big human meals, Aziraphale? Shall we send up the sushi?” Azi likes food, comfy clothes and a cozy environment, and others make him feel like he should be ashamed for it. But, with Crowley, he feels comfortable enough to show his interest in something human and trivial as magic tricks. And Crowley with his “You, my Nefertiti fooling fellow, are about to perform on the West End Stage. If that doesn't make you a professional conjurer, I don't know what does” makes him happy. Aziraphale feels valued, supported and encouraged, as he should be. Also, I don’t wanna say that he may have a praise kink, but… Antony J - acts of service - Crowley is good with words of affirmation too.

Then they go to the magic shop and flirt even more. Aziraphale is having the time of his life: he has found someone to share his special interest with, someone who doesn't judge him. And Crowley’s having fun too! They’re genuinely happy around each other.

“You're going to need a 100% reliable marksman. Someone you can really trust. Otherwise, it's lethal.”

“Oh, I've got the perfect man for the job.”

Of course Aziraphale hears the word “trust” and immediately thinks of Crowley. And if you dare to say iT’s oNLy BecAUSe cROwLey iS riGHt tHeRe I’m sorry, but you have to rewatch the series from episode one. I don’t make the rules.

“You'll do the shooting, I'll catch the bullet. I'll do all the hard bits. As a demon, you must have fired off a lot of guns, yeah?”

Yeah. I warned you about the innuendos. Crowley wants to be a supporting husband, but also wants to play the cool one and so he doesn’t admit that he had never fired a rifle. More important, they’re having a great time, Aziraphale is so excited at the idea of the show and Crowley doesn’t want to say no to his angel. He will never want to say no to him. Until he will be left with no other choice.

Crowley sways, uncertain, and Aziraphale follows his gaze, maintaining eye contact. (On a sad note, Aziraphale will do the exact same thing in the final 15 minutes, but this time Crowley will say no, putting his sunglasses back on. It will be the last time Aziraphale will see his eyes. In this season at least).

Look at the picture above: we still have the warm, soft light - they are in a secluded corner and the colors are softer than the bright ones in the rest of the shop, to convey an idea of intimacy - but there’s a sword hanging over their hands. A bad omen indeed.

But don’t get sad: we are about to witness some real magic.

“I bet you're all thinking, "What's that man doing up there, on the stage? Is he here to amaze and befuddle us all with his prestidigitation… and jiggery-pokery?"

Which apparently is a real word. No, Aziraphale, I’m thinking about the fact that Furfur has blocked yours and Crowley’s miracles and so you two idiots (affectionate) are on your own.

“Aim for my mouth, but shoot past my ear. I just squeeze that there, do I not? Haven't you fired a gun before?”

…

I'll leave this up to your interpretation.

Crowley is forced to admit that this is his first time. With the rifle, I mean.

Then we have this sequence. If you're wondering why it was important for us to see the magic show, beyond the funny bits, here we are.

Suddenly the mood has changed, from funny to tense. Crowley is slighty shaking his head and mouthing a soft, but clear NO. And, if I just hear someone say iT’s bECaUSe oF tHe pAperWoRK…

“Never mind the paperwork, they probably won't be able to put him back together again.”

Thank you, Furfur. (On a lighter note: is Crowley wearing red nail polish in the picture above - and not in the close-up below - why am I discovering this only now??)

Crowley is worried. He's really, really worried. He’s afraid of hurting Aziraphale. Crowley knows to be an unreliable marksman, he knows that he should have told Aziraphale. And he knows that he would never, ever forgive himself if something bad has to happened to Aziraphale because of him. That would be unbearable. That "unforgivable, that’s what I am" would really become true, in the worst way possible.

Crowley doesn't know what to do. A 6000 year old immortal being and his hand is freaking shaking because is afraid to hurt his… whatever you wish to call. He knows he can't trust himself. But do you know who he can trust? Aziraphale. Aziraphale whispers “trust me” e so Crowley does. Even if he’s scared. Even if his finger is still shaking on the trigger. And that “trust me” from Aziraphale is a two-way street. It’s a “trust me, because I have trust in you”.

If you want a good visual reference of Crowley’s no and Aziraphale’s trust me I suggest this beautiful gifset by @rosettyller

Obviously things go well. The audience applauds. We have the “no paperwork” line for all the paperwork aficionados and for lighten up the mood again. Aziraphale is over the moon. Crowley puts himself together as if he wasn’t shaking a few minutes before. They would be free to unwind in the dressing room, but Furfur barges in, accusing Crowley of collaborating with the enemy. Back into the “forbidden romance” trope territory again.

“The miraculous Bullet Catch requires the use of a trusted stooge and confidant.”

Give me strength. Even Furfur has figured out what's going on - that's how started the rumors that Aziraphale and Crowley were an item. Luckily, Azi manages to recover the polaroid, which is the only evidence of his and Crowley’s… whatever you wish to call it. WHERE is this polaroid now? I need to know.

“I knew you would come through for me. You always do.”

“Well, you said trust me.”

“And you did. You could've walked away. If you were truly as evil as you like to paint yourself, you would've done that.”

“Nah. That's the trouble with you lot. You don't just see things in black and white. Sometimes, you've just gotta blur the edges.”

“Well, maybe there is something to be said for. Shades of grey.”

*scraping all the lame jokes about a certain book and shades of grey out of the draft*

That’s it. That’s the all point. First, trust. Mutual trust. From the beginning in the church to the magic show, trust is the recurring theme of the 1941 flashback. It’s also the foundation of their relationship. I can always rely on you, you can always rely on me. Over the centuries, they have influenced each other. Aziraphale, despite the prejudices he has been indoctrinated into, has come to trust a demon. Crowley, despite his rejection trauma, has come to trust someone again, an angel no less. That’s because, over the time, they repeatedly chose each other, they repeatedly gave each other a reason to be the object of their respective trust. And so we can see a little moment like this, where the labels "angel" and "demon" don't matter, as they shouldn’t. When they’re alone, just like that, they’re themselves, they’re them, they’re an us.

Also, the shades of grey. Angels are not inherently good and demons are not inherently evil. The system is wrong to its core and it must be dismantled.

Now, let’s take a moment and a deep breath.

It is common belief in the fandom - and I agree - that the 1941 flashback isn’t over yet. We leave Crowley and Aziraphale all lovey-dovey, sitting at a candlelit dinner, alone, with a bottle of red wine. The romantic setting par excellence. I don't think they kissed - because everything in s02e06 suggests that THE kiss is a first kiss, at least in my opinion - but something else must have happened that evening. We know that Aziraphale did the apology dance at some point. We know that A Nightingale Sang in Berkeley Square was written in 1939 and published in 1940. It’s plausible that they heard it that night. And we know that Azi, for some reason, will say You go too fast for me, Crowley in 1967.

BuT AzIRaPhalE wAS tALKiNg AbOUt The cAR.

Please just rewatch the show.

Fem Aziraphale scent?

It's a delicate balance

Behind the Scenes of Good Omens Season 2 - Part Three

from the X-Ray Bonus Features on Amazon Prime

[ Part One ] [ Part Two ]

When Actors Do A 180 by Greg Ferrara

I grew up watching films in the ‘70s. In that time, I saw Robert Duvall quite a bit. I saw him as Tom in THE GODFATHER (’72); as an angry, ballsy network exec in NETWORK (’76); as a crazed colonel in APOCALYPSE NOW (’79); and as a mean, hardcore colonel, again, in THE GREAT SANTINI (’79). He also played cops in BADGE 373 (’73) and TRUE CONFESSIONS (’81). Basically, by 1982, I was pretty sure I had Robert Duvall pegged: Urban, hardcore, mean, angry, tough guy. And then…

In 1983 Robert Duvall starred as Mack Sledge in TENDER MERCIES (available on Filmstruck) and turned every stereotype about him as an actor on its head. Here he was, a down on his luck country music singer trying to get back on his feet after giving up alcohol. The Corleone’s council, the do-or-die Lt. Colonel Kilgore, the heartless, bottom-liner network executive was now playing a country singer?!? What?!

He was, of course, superb. And it not only won him the Oscar, deservedly so, but it opened up roles for him no one could have imagined a decade before. By the turn of the century, there was no longer a “stereotypical Robert Duvall role.” He had broken himself free from his early days so thoroughly, so conclusively, all I could see was what he was all along: One of the most versatile actors in the history of cinema.

But he’s not the only one. Here are some other actors and the films that showed they could do a whole lot more, all available on Filmstruck.

Warren Beatty, BONNIE AND CLYDE (’67)

This is going to sound harsh but I’m just going to say it: By 1967, Beatty’s career was going nowhere fast. The only two big movies he had even done both showcased the lead actress in them (Natalie Wood in SPLENDOR IN THE GRASS and Vivien Leigh in THE ROMAN SPRING OF MRS. STONE, both ’61) and the other movies he had done were non-starters. He was destined for a short career as a pretty boy that would morph into guest shots on TV in the 70s as playboy murderers. But Beatty knew he could do so much more than that. With director Arthur Penn, he put everything into a risky move: Glamorizing two mid-Western bank robbers in a commentary on the celebrity of tabloid culture. It worked and Beatty became a force in the movies for the rest of the century.

Katharine Hepburn, BRINGING UP BABY (’38)

It’s well known by now that in the mid-30s, Hepburn was considered box-office poison by a bunch of short-sighted distributors (spoiler: she never really was). Up until 1938, every movie she made fit nicely into the schemata of theatrical drama with little venturing outside the formula. A couple of movies, like ALICE ADAMS (‘35) and STAGE DOOR (‘37), had some comedy in them but nothing over the top. No, Hepburn was destined to be the actress that got cast in stodgy dramas and stage adaptations for the rest of her career until she and Cary Grant teamed up for one of the all-time great screwball comedies, BRINGING UP BABY. No one knew she had it in her but boy did she ever. A short trip from there to HOLIDAY (’38), THE PHILADELPHIA STORY (’40) and WOMAN OF THE YEAR (’42) changed the course of her stunning career forever.

Elizabeth Taylor, WHO’S AFRAID OF VIRGINIA WOOLF? (’66)

This is a case of an actress whose career was already long established and doing just fine. She even had an Oscar already, and had she done nothing else after CAT ON A HOT TIN ROOF in 1958, her legacy would have been secured. But no one thought Taylor could pull off the role of Martha, the bitter, resentful, angry and tattered wife of academic George (Richard Burton) in the film adaptation of Edward Albee’s searing drama, WHO’S AFRAID OF VIRGINIA WOOLF. Well, Taylor proved them all wrong and no one would ever think of her again as an actress limited to only one kind of role.

Frank Sinatra, FROM HERE TO ETERNITY (’53)

This one changed it all for Sinatra. Without this one, he’s a singer stuck in lightweight musical roles for as long as his voice holds out. But with this one, a role he fought hard for, he not only snagged an Oscar, but was able to make movies like THE MAN WITH GOLDEN ARM (’55) just two years later without audiences thinking, “Why is the guy from ANCHORS AWEIGH (’45) playing a heroin addict?” Sinatra was now free to make musicals all he wanted, knowing that he was also readily accepted in dramatic roles too.

Marilyn Monroe, THE MISFITS (’61)

It’s obviously a tragedy in countless ways that we lost Monroe so soon but adding to that tragedy is the fact that her performance in THE MISFITS showed she was ready to move into middle age and take on roles outside of what studio executives thought of her. It was already clear that Monroe could play a wide range long before this, but THE MISFITS really put into perspective just how wide-ranging her future career would be. This one hurts more than most because it shows so much potential without leading to anything else.

These are just a handful of performances that turned the idea of what was expected of an actor on its head and they’re all available on Filmstruck. It makes you wonder how many other actors never got the opportunity to show off what they could do.

Pt I good omens but i've never watched it

i've never seen good omens but it's all over my tumblr dash so this is what I've gathered can someone please confirm if i've got it right

there's a demon named crowley

there's a biblically inaccurate angel named aziraphale but like it's very sexy when the demon calls him 'angel'

the demon and angel have been married for 6000 years and they still keep looking at each other all sappily

Neil Gaiman is somehow involved, I think he's the writer but also he's on tumblr (uh, @neil-gaiman) and people keep questioning if he's real

is neil gaiman like a fandom inside joke why is everyone asking if he's real

there actors are called michael and david and amazon prime thought they were the same

there is a bookstore and crowley is sad

they kiss and it is very nice and desperate and crowley says we could have been us. i have no context for this. someone is going to heaven i think.

there is a god, i'm not sure if they're good or evil though

the demon wears sunglasses

it's a comedy but for some reason everyone's crying after whatever the last season was, are you guys okay

things are on fire

they are very gay

there was a book and at one point they switch bodies

more fire and crowley screaming

they are called ineffable husbands i dont know what that means

they fight crime or they do crime or they fight crime by doing crime i really cannot remember which

gay

Thinking about the fact that it's the SECOND chorus of Nightingale that plays in Crowley's car at the end of S02E06

That certain night The night we met There was magic abroad in the air There were angels dining at the Ritz And a nightingale sang in Berkeley Square

I may be right I may be wrong But I'm perfectly willing to swear That when you turned and smiled at me A nightingale sang in Berkeley Square

The streets of town Were paved with stars It was such a romantic affair And as we kissed and said goodnight A nightingale sang in Berkeley Square

I know 'cause I was there That night in Berkeley Square

I compared the choruses in the full version of the song and THAT'S the only one that has any kind of piano/orchestral swell immediately afterward like it does in the show.

OW MY FEELS.

And it ALMOST lines up perfectly with when Aziraphale looks at the car, if you were to start from the beginning of the song, but not quite. Close enough for me. x'D

Also hm, Season One for the first bit, Season Two for the second, and Season Three for the third bit? Give my boys their streets paved with stars and kisses goodnight, Neil!

Ineffable Husbands really is that ship that has it all. They’re married. They’re divorced. They’ve never been together at all. They’ve been pining for 6000 years. They’re gay except they’re also not at all. They’re technically enemies to lovers but they’ve never been enemies nor lovers. Name any fanfic trope, they’ve probably been there, done that and they were entirely oblivious about it. Incredible ship.