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Being Like Human? How Difficult Could It Be?

@analogsaquarium / analogsaquarium.tumblr.com

musicine taker / random fandom / precisexual

okay, I love Alec, but can we please talk about how hilarious that letter is

he starts out with an outright threat of BLACKMAIL?? and then immediately after he returns to casual conversation like “not much going on around here, kinda boring :/ ” i’ve heard of 0-100 but i’ve never seen something go from 100-0 before 

and then he just starts taking absolutely WILD stabs in the dark as to why Maurice won’t talk to him?? he starts talking about the fucking cricket game?? like, does he really think Maurice broke up with him because of a cricket game!? wild 

and then he finishes the letter with something like “yours respectfully, A. Scudder” and then puts a final blackmail threat AS A PS

the whole letter was a wild ride from start to finish and I only love Alec even more as a result

Answers

He watched Alec gets in this small room without a view.

"Don't try to fool me with ya pretty eyes." Alec mumbles, seeing him lied in the bed at ease, with all clothes loosen.

"Put out the light then, so you won't see them." Maurice bows down his head, said softly.

Alec stunned for a second, but soon he acts. The room is taken over by darkness, only a dim light escaped through wall slits, merely enough for Maurice to recognize a shattered outline of Alec's.

Suddenly he's overpowered by a strength, so fierce and resolute, which aroused an instinctive dread inside him, like an animal being hunted down, but he knows he can surrender under it, so he wraps his arms and legs around that body, with all his gentleness and belonging, allowed the heat and weight to press on his skin.

When the lamp light came back into the room, he found himself crying. Dropping tears, actually, 'cause he's not feeling any sadness. He's confused, but still holding Alec with his arms.

"You're such a kind heart man." Is Alec complaining him? No, that sounds more like a wonder. Alec always expresses affections in a rough way. And he senses that Alec is confused too, he said that in a tone like he's pondering though a puzzle.

"I want to stay with you. To be with you."

Alec didn't say anything. He responds by actions. Alec is thinking about how to do that. He knows.

You can imagine how tempted I was to take that knife and put it in his hand and let him use it to his liking. You can imagine the restraint it took for me not to let my people loose. But where does that leave us? So I will fight this thing rising up in me eager to see more blood spilled today, and I will serve them by minding their future and doing the hard thing that will lead to the outcome desired by all of us.

MADI + iconic lines

I never said it in a more specific way: Madi IS Thomas, if he was born in Maroon island. Look close on every lines she said in those GIF, you can easily imagine Thomas said the exactly same lines to James or Miranda. And don't mention that they're also SO similar on the facial appearance.

Aziraphale and Food

So, stick with me for a moment: Why do we almost universally essentialize Aziraphale into a glutton? 

Like yes, he eats, and yes, to our knowledge he’s the only known celestial creature (Christs and Anti-Christs notwithstanding) to eat on screen, but he never really eats to excess. In fact, I don’t think he eats food because he’s a hedonist (I mean he is a hedonist, but maybe not for this), BUT rather because it provides him an excuse to be with Crowley. 

Sounds ridiculous right? It shouldn’t be right, right? We see Aziraphale eat alot over the course of the show, we see him enjoy eating, and we never see Crowley eat ever. So, it can’t all just be a ploy to be with Crowley?  Right?

I mean he certainly enjoys eating, I’m not fool enough to say he isn’t getting any pleasure from dining out.  Just look at his face as he appreciates the sushi! Joy! 

And this calm, happiness follows Aziraphale when later in Ep. 1, Crowley takes him to the Ritz in an attempt to persuade him to save the world.  And, to celebrate surviving the end of the world with his boyfriend best friend, the first thing they do once they’re free, really free of Heaven and Hell and their abusers, is going to the Ritz. 

So I’m not proposing that Aziraphale doesn’t eat, or that he doesn’t get any enjoyment from eating >I mean look at how his face falls he is When Gabriel asks why he’s eating food, proceeding to call it “gross matter”, and eating it “sullies” his heavenly temple.  It’s straight-up heartbreak, as Aziraphale glances down at his spicy tuna roll.  (and let’s not forget or excuse that what Gabriel is doing here is abusive) <

However, if Aziraphale’s interest in food is simply selfish or gluttonous, then we must have seen him eat plenty of times without Crowley or the expectation that eating would be a vehicle for their social interaction.

We don’t.

AZIRAPHALE + SUSHI

Just think back to the above scene that establishes Aziraphale’s character. 

This is the only scene with Aziraphale and food that does not include Crowley. And sure, he is alone in a sushi place, before being rudely interrupted by Gabriel’s garbage attitude. Crowley doesn’t isn’t there now, he’s not ducking under the table, or jumping out the window, or materializing himself anywhere else but there to avoid being seen by Heaven. So, clearly, this must be proof of Aziraphale’s undying attachment to food. 

Case Closed.  Diagnosis: Gluttony plain and simple.

However, if this is true, how do we explain his peculiar behavior in this restaurant? 

For starters, immediately after receiving his food, he’s striking a conversation with the chef – a chef who knows his NAMEd, not Mr. Fell, not some pseudonym, not simply addressing him like another customer, but as a friend (at least an acquaintance).  Perhaps even more telling is not that Aziraphale and the Chef know each other, but that Aziraphale – I’m a bit out of Practice is French IN FRANCE – has gone out of his way to learn Japanese to converse with this person, treating him with the respect of a friend, not someone who is here simply for food alone. This is social. 

Then there is a small chime, indicating a supernatural presence has entered the building. (We hear the same chime when Crowley rescues his ass from a guillotine) And notice how unsurprised he is by the sudden supernatural presence. He’s expecting a guest.

Couple this information with Crowley’s behavior at the graveyard (he acts like he wants to get the hell out of Dodge even before he’s tasked with delivering the Anti-christ like he’s got a prior engagement) and the knowledge that the A40 goes straight through Soho.  

I think it’s reasonable to conclude that he’s expecting Crowley. 

Notice how he pointedly looks to his left upon hearing the magical chime.  We see in the next (below) shot, that he’s not turning to the door, but to a mirror.  So why look there if not because Crowley always is on his right?

His face instantly drops and an overjoyed expectant look turns to a terse, forced polite smile when he sees Gabriel, not Crowley, has joined him. And while he defends eating, we don’t see him eat (even after Gabriel leaves). I think, perhaps unintentionally, this is the scene that tells us why Aziraphale eats. 

Pretext.

AZIRAPHALE’S SOCIAL CALL, CROWLEY’S BUSINESS DEAL

Let’s look at the first time (temporally) we see Aziraphale broach the idea of food. In the early years and in Heaven, Aziraphale doesn’t volunteer any interest in food or social interaction. However, in Rome, things are clearly different.

Notice how in the opening shot, Aziraphale isn’t eating. There’s no drink in his hand, no grapes in his mouth, nothing to indicate that he has been eating, or socializing.  When suddenly!! He hears a voice, and stops, his game piece hovering over the board as he realizes Crowley is nearby. 

Only when after he approaches Crowley, does food enter the conversation Hearing Crowley order gives him the perfect in, the clearly acceptable, casual social relationship that no one could question.  He can see that Crowley, like him, has changed and that the demon is giving him limited responses, barely joining the conversation. 

Aziraphale tries– he honest to God tries – to start a conversation without pretext, without some kind of excuse to join in the welcome, and frankly comforting, company.  He asks “still a demon” trying, oh so haphazardly, to make it about work, kind of like when someone is asking you about the weather, and it blows up in his face, earning him the wrath of his friend. He simply can’t be the one to initiate business conversations because it, as a pretext for their relationship, is always off the mark, and comes across as dismissive of Crowley’s demon identity. 

Only when he talks about food does he manage to get Crowley to open up, and accept his presence. He gives Aziraphale the all-clear to continue talking to him, and Aziraphale fucking jumps on it.  It’s extra fascinating how both parties leave this scene with two radically different uses for food. For Aziraphale, it is a safe pretext to get Crowley to open up, but for Crowley, it seems to be Aziraphale’s main interest, not him. 

Crowley also doesn’t seem to get that Aziraphale is not equipped to talk shop, and needs the security in being in a sanctioned social interaction.  Friendly talks like the ones they’d shared earlier were comforting to Aziraphale, getting him to open up in a way that no other character had successfully managed.  He means for this, and more importantly, he NEEDS this to be social. To be a kind of friendship, partnership, that he doesn’t get from Heaven. There’s security in being casual, social, and nothing more than that. 

However, Crowley can’t talk about himself in any meaningful way. He mentions he’s never had oysters before, his sarcasm missing Aziraphale only to have him be surprised when Aziraphale tries one last jab at the business talk. The “let me tempt you” gets his attention, but he doesn’t relax until Aziraphale, “no, I suppose that’s your job”, or when Aziraphale diverts the conversation back into their work.  

Both walk away from this conversation thinking “yes, I know how to talk to him now” Except, they don’t. Aziraphale doesn’t recognize Crowley uses their work as a catalyst, and Crowley doesn’t recognize that for Aziraphale food is a catalyst, not the product, he desires. 

A MISCOMMUNICATION

When Crowley asks for a “favor”, a work lunch, we can see how the two fundamentally misunderstand how food is being used, and how the other thinks food is being used.

The whole exchange about the crepes, boils down to Crowley opening the door with “remember that work favor?” and Aziraphale responding with “I don’t remember the work pretext, but I remember sharing crepes with you”. 

Notice it’s not I had crepes, nor is it a focus on the food itself. It is Aziraphale emphasizing the shared part of the shared experience, not the details (which we get to see by the way) of being rescued or of accusing Crowley of starting the revolution, and Crowley explaining that neither side had started it, but the humans had.  All Aziraphale cares about is their relationship, but can only safely use food as his point of reference because it allows him to share time with Crowley.  

Contrast this with how Crowley’s perspective. Even just asking if it was one of Heaven’s or Hell’s is cementing the conversation as a work lunch, reminding Aziraphale (and perhaps himself) that they’re only allowed a professional relationship, not a social one, and he gives himself the pretext of work.  Neither recognizes that there is a cross in the symbolism. 

THE SHIFT

Things do shift, at least for Aziraphale, and food works a second role. Romance.

In the 60′s Aziraphale doubles down on using food to facilitate his relationship with Crowley because now he explicitly us that, “He can’t have [Crowley] risking [his] life, not even for something dangerous” which I think means “I’m afraid of our relationship without the pretext and safety that food has provided us me.” The danger is having their mutual feelings of love being discovered, so he’ll give Crowley the holy water as a symbol of that trust.  

But when he continues as uses food to roadmap a relationship free of the pretext, “Maybe one day we’ll go for a picnic, dine at the Ritz” is indeed a literal example of what their relationship could be but it also acts as a promise that “Maybe, one day we can go on a picnic, or dine at the Ritz without the excuses, and simply be us enjoying food, not us using food as a safety net”. It’s a road map that he will continue with the pretext, and he’s alright if Crowley is tired of using it to be around each other, but he needs it, not always, not forever, but for now, it allows him the comfort that he is protecting Crowley’s safety (as well as himself). 

Crowley counters this moment with, “I’ll take you anywhere you want to go”  which I argue translates into “I will dismiss the pretext now in a heartbeat, I’m not afraid of the consequences, I could ‘eat’ with you now”, but Aziraphale can’t risk it. “You Go too Fast for me Crowley” is a warning that he can’t have Crowley risking his life for him. We talk often about how Crowley has self-esteem issues, but so does Aziraphale, he does not see himself as being worthy of such a risk. So, he needs the pretense of food to function without (much) worry about what Hell would do to Crowley if they were discovered. 

Unfortunately, they’re not speaking the same symbolic language, and as pointed out earlier, their wires are crossed. 

CONCLUSION 

In the beginning of the show, Crowley uses “no more fascinating little restaurants where everyone knows your name” specifically as a selling point, appealing to his presumption that Aziraphale’s love of food outweighs his love of the demon. He’s seen Aziraphale eat, and enjoy himself, clearly, at least Crowley thinks this tactic is reason enough to get Aziraphale to stay.  Which points to the fatal flaw of Crowley’s reasoning.  He only uses it because saying “we’ll never be able to talk to each other again” doesn’t even register as something he can say because he doesn’t value himself as enough for Aziraphale to consider saving the world. Food, however? Food has acted as a catalyst for understanding, but Crowley mistranslates “catalyst” for “produce” and presumes that because Aziraphale uses food to talk to him, he must love food, and not him. He’s wrong.

It’s not until they both throw out pretext and realize “shit, the song and dances we’ve been doing have not allowed us to rely on each other in the way we need” that they can move forward. And, after Armagedon’t they do just that, leaving the garden, and the remnants of their loyalties to other parties, and dropping all pretext, and just enjoying each other’s company as equals. 

Ending the series at the Ritz, celebrating their closeness is likely not the last time they’ll ever share a meal, but it is likely the last time they will under the pretense that food is Aziraphale’s central desire and not Crowley.  Sure, food is something Aziraphale mostly enjoys, but it no longer is an excuse. If he eats, it’s for enjoyment and personal choice, not a means for hiding or protecting Crowley anymore. And for Crowley, “tempting” Aziraphale to a bite of lunch without the expectation of a favor, or repaying a favor, removes his similar reservations about pretext. He no longer has to rely on work to simply “be” with Aziraphale. 

TLDR: Aziraphale uses food as a social excuse to spend time with Crowley

Thanks for coming to my TedTalk, next time I’ll write too much about Crowley and retraumatization

Anonymous asked:

Any opinions on Az's smile when Crowley arrives at the theater for Hamlet?

Opinions?? No, I have no opinions.

Who fuckin’ cares about the way his inquisitive expression immediately melts into one of absolute, satisfied pleasure as soon as he sets eyes on Crowley?

Certainly not me, nope, not at all.

And I know that it’s just not worth mentioning how adorable he is with his immediate conceal don’t feel reaction as soon as he realizes that he’s smiling at Crowley that way.

What do you mean that Aziraphale is already in love with Crowley and just doesn’t realize it?

Shenanigans, I tell you. You’re talking shenanigans.

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crowley, who claims he doesn’t read books, leafing through agnes’s prophecies: why isn’t there an index?

Local demon about to go home and lovingly leaf through every page in his hardcover copy of The Extremely Big Book of Astronomy: “I don’t read”

How many times has Aziraphale come around the corner in the bookshop and surprised him totally absorbed in something that he flings away like he’s been caught trying to make out with it?

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I relate to “why isn’t there an index?” so hard 😅

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Me: I really like the Crowley as Raphael headcanon but I do think it’s a little weird given that Aziraphale’s name means “Of Raphael” maybe he was originally serving under Raphael before his Fall? 

Some theorists online: Crowley and Aziraphale were BOTH Raphael and God literally split him in two casting out the side that doubted and questioned and keeping the side that was loyal and devoted. They both however still care deeply about humanity, as you can’t erase that part no matter what you do. They are the literal two halves of the same whole searching for each other, which is supported in a meta sense as Aziraphale and Crowley DID start as the same character that was split into two, an angel and a demon 

Me:

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And what if WHAT IF the split of Raphael was actually what inspired God to split Eve from Adam?

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The Sexualizing of Nanny Ashtoreth (And Also Some Gender Stuff)

Alright, I’m apparently in a meta-writing mood, so: some thoughts on Nanny Ashtoreth.

First, I don’t see her as a transmisogynistic trope at all. She’s a Mary Poppins joke, and one I thought was made in surprisingly good taste. Her gender is never once an issue or a joke. It’s just David Tennant dressed like a goth British nanny. There’s nothing sexual or mocking about the way she’s portrayed, except for her comedic attempts at being Evil. I think those of us accusing Gaiman of being a transmisogynist are taking their personal dislike for her character too far and using it to attack someone who’s been an ally to the community for years. I think it’s rather similar to the demands that have been made for Crowley and Aziraphale to be explicitly Gay Men, stemming from aphobia and nonbinary focused transphobia. Both arguments feel rather transmed-y, like the characters are offensive and bad representation because Ashtoreth isn’t “female enough” and Aziraphale and Crowley chose to be male passing. I think Ashtoreth combined with all the feminine traits that Crowley chooses to embody are enough to say he’s not a man in the traditional sense. I read Aziraphale as agender, but that’s just me. All this is not to say that I think Nanny Ashtoreth is without damaging trope-y flaws, particularly in the book.

The whole sexy, domineering nanny trope is one I’m not totally comfortable with. It’s over-sexualizing, and it’s dismissive of the actual work that a nanny does. Also, it’s often mixed up with harassment, bad BDSM etiquette, and unhealthy relationship dynamics. I don’t think it’s an issue with the content from the TV show but the book does frame her in this context, and the fandom has taken to it with gusto.

Which, yeah, I get it. Hot goth David Tennant/Mary Poppins can top me any time. (Not any time actually, when she’s off work and in her own private space, and we’ve had a talk about whatever kinky things we’re going to try.)

I think the over-sexualization of the character comes with a huge cost for the fandom. Where is the “Nanny Ashtoreth being Warlock’s primary parental figure” content? The stuff about a character we know really cares about kids (the ark, being unwilling to hurt Adam himself) secretly loving about the kid he raised with his angel for years? On that note, where’s the work about Nanny Ashtoreth, Crowley, and gender? I get that she’s hot, and I’m not saying that any explicit content about her is bad (some of it is very very good).

I’d just like us to be more aware of how we write nanny Ashtoreth, and of the risk of losing her personality and plot for the sake of a good fic about her and a riding crop.

I see your “Crowley was Raphael before he fell” and I raise you Crowley was Samael before he fell. Samael is one of the Archangels as well, but he is often conflated with Lucifer, because they’re both called “satan” and they’re both fallen angels, and for another reason I’ll get into later.  

But Lucifer was only a Seraph, which while still a high rank, isn’t nearly as high as an Archangel like Samael. And while Lucifer was the light bringer before he fell, Samael’s angelic duties were far darker.

Samael was the “severity of God”–essentially, it was his job to do all of the Almighty’s dirty work, like collecting souls, as the Archangel of Death before Azazel, and smiting, and otherwise being the violent side of God. Samael also took the form of a serpent, and tempted Adam and Eve in the Garden of Eden, (the other reason he is often conflated with Lucifer, as Lucifer is also often cited as the serpent). It’s pretty debatable whether or not Samael was Fallen, or still working for God when he did this, because before and after falling, Samael was both good and evil, or rather, both holy and unholy. 

So, how about this for Crowley’s backstory? He is the Archangel Samael, sent to do horrible things in the name of the Almighty, with little to no explanation on why he has to do them. He is feared by many of the other angels, because of the things God has him do. And when the good (and yet, somehow, unholy) part of him wins out and he asks the Almighty why he must deliver Her wrath, when he questions God’s will, he falls. 

But just as he was unable to complete God’s will as an angel, because his goodness was not holiness, he isn’t much of a demon, either, because his unholiness isn’t badness. 

WAIT I’M NOT DONE 

Crowley spends so much time on Earth questioning God’s more violent and merciless actions, even as early as that first conversation with Aziraphale in Eden, and again with the Flood, when God is going to wipe out all the humans, even the kids. He doesn’t hesitate to believe that God destroyed Aziraphale, when he thinks Aziraphale is gone. 

Not to mention the driving force of the story is Crowley’s desire to save the Earth and humanity from Armageddon. 

So, imagine, if he used to be the executor of these things. Imagine the guilt and anger that Crowley would carry. And when Aziraphale says he’s going to talk to God directly about Armageddon, Crowley knows it won’t work, because he knows first hand how vicious the Almighty can be, possibly more than any other angel or demon, given how even Gabriel seems oblivious to the games God plays with the universe. Crowley knows how the Almighty operates better than anyone in the world, and he knows it sucks.  

The new-TV-GoodOmens fanon tendency to take Aziraphale’s very-soft presentation as unadorned truth is be/amusing to me. 

He was the angel left to guard one of the Gates to Eden and he did in fact have a flaming sword. He is also the one who WOULD have shot Adam, had Madame Tracy not intervened. 

He is also the angel who’s response to “wait I need to get back to Earth to stop Armageddon” is to do something that clearly SCARED THE SHIT out of the other angels who watched him do it, with a malicious-glee-glint in his eye, who hopped disembodied down to earth, and then floated around to try to find the right place. 

He also, well. Fucked around with Heaven at all. There’s such a thread of comic corporate-absurd involved that it can be easy to miss, but what we’re shown is that the hierarchy of Heaven is just as happy as that of Hell to murder, torture, restrain, make captive and otherwise punish its own in the most horrible ways possible and in fact they’re far more effective at it. They just have a lot of Rules they follow, whereas Hell acts on a whim. 

And there’s Aziraphale running around lying to them and pulling the wool over their eyes and so on. Something which, very clearly, none of those other angels are interested in doing. 

Fundamentally Aziraphale is a stone cold agent of divine wroth. 

He just doesn’t want to be. 

He doesn’t like being like that. He doesn’t like suffering, his own or other people’s. All those times Crowley saves him, it’s important to keep in mind that Aziraphale’s in no more fundamental danger than he is when he loses his corporal form in the bookshop fire: if Crowley hadn’t shown up to save him in the church, for example, all that would have happened is that either a) he would have been discorporated and had to wait in line for a new body (or risk being reassigned) or b) Aziraphale would have had to do something Nasty to the Nazis there in order to save himself that trouble. 

He doesn’t like either of those options! Those are both crappy options. But they’re not existential threats. 

I’m the nice one he snaps when Crowley’s too busy having his Moment over his Bentley to take care of dealing with the soldier. 

Aziraphale doesn’t like having to be cruel, or mean, or scary, or stone cold. He doesn’t enjoy it and given the choice he will in fact choose not to be. 

What Crowley saves him from, over and over again, isn’t actually being killed. 

Because what interests Crowley in him, and we see that, all the way back, is that very first instance of Aziraphale choosing not to be that person. That first time when what Aziraphale was supposed to be was Stern and Frightening and Judgemental and Harsh and Terrifying … . and instead he chose to court potential punishment (and actual existential threat) to give the people he was supposed to Terrify a way to protect themselves from all the scary things. 

Aziraphale doesn’t want to be an instrument of judgement and wrath and what Crowley keeps saving him from is having to be. Crowley condemns the bloodthirsty executioner, so that Aziraphale doesn’t have to; blows up the Nazis so Aziraphale doesn’t have to. 

Lets Aziraphale be the nice one, in fact. 

Which I think is frankly far more fucking adorable. 

But never let it make you think that Aziraphale is the safe one, or the helpless one. 

He’s the one who, when faced with the apparent choice between killing a child and the end of the world, chooses to kill the child. Actually chooses to do it - not just plan, not just talk about, not just contemplate, but do it - and is only saved from having done it by sharing the body of someone who won’t let him. 

Aziraphale is soft and slightly silly and gentle and non-confrontational and all of those things because that’s what he wants to be. He has fought for a long time to get to be that. 

This is important. 

Yeah, folks, don’t forget that “little bit of a bastard” that runs right through the core of him. ;)

“Just enough of a bastard to be worth knowing”, in fact.

Note that this is a very unspecific measurement.

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And we don’t know what exactly it was he did to make the implied-to-be-organized-crime people who’d occasionally come by to try to buy the bookstore (and imply how flamable everything was) go away and never come back.

For all we know, he gave them a glimpse of his true form and they were never able to sleep again, or something more…direct.

Yes, to just about all of this.

I don’t know if I agree that only Madame Tracy’s intervention stopped Aziraphale from killing Adam. Honestly, I think if he was 100% determined to go through with it, he would have made sure it happened. Sure, it wouldn’t have been easy by any measure, but he would have found a way. 

What Madame Tracy did was take advantage of that persistent sliver of doubt that Aziraphale had that killing Adam was the right thing to do.That, I think, is why she succeeded in stopping him. Because he did not have the full force of his will behind this plan.

But the overall idea that Aziraphale is soft-hearted and gentle completely by choice, I absolutely love. And I agree that Crowley isn’t saving him from genuine threats to Aziraphale’s life. He’s saving Aziraphale from having to be the person he desperately does not want to be.

As to how Aziraphale made sure that that the “organized crime types” never returned to his book store….

I keep thinking about how, in the Bible, people are almost never happy or joyful upon seeing an angel: they are terrified! Sure, these humans are aware that angels are God’s holy agents, but that doesn’t make actually meeting one and seeing them in even a little bit of their full glory any less frightening. And just about every time, said angel has to take a moment to reassure the humans that they don’t need to be scared. 

So, my thought is that, all Aziraphale had to do was allow those “organized crime types” to get a glimpse of who and what he actually is…and that alone is enough to make them too petrified to return. And it probably inspired them to consider new ways of making a living. A neat and completely non-violent way to accomplish his goal. 

At the end of the day though, Aziraphale is still a Principality and an angel who was meant to wield a flaming sword. He absolutely should be considered dangerous and not someone to trifle with. The fact that this powerful and intimidating being is tempered by a deeply benevolent nature goes to the core of why Aziraphale is such a lovely and fascinating character.

OK I’ve just noticed the parallel between Crowley and Dirty Harry then suddenly I’m having all these secret-meetings-in-the-1971-cinema headcannon  Crowley would be OBSESSED with Dirty Harry and A Clockwork Orange Meanwhile Aziraphale would fall in love with Fiddler on the Roof and Melody Equally dumbass and fangirling though

The Lullaby

I absolutely love the soundtrack that David Arnold composed for Good Omens. It is beautiful and unique and so fun to listen to. He did a wonderful job weaving various musical themes throughout the show, so it took me a while to figure out why the music in THIS SCENE sounded so dang familiar.

Well I finally figured it out!! 

And it’s given me just about ALL of the feelings, because this scene ^^^^ arguably one of the sweetest, most heartwarming in the show, has a musical score which nearly exactly matches this one:

That’s right folks! A rendition of Crowley’s lullaby is the song that plays after Crowley saves Aziraphale’s books and the angel looks on after him in wonder.

I HAVE SO MANY FEELINGS.

here’s the lullaby melody if you want to take a listen:

After the apocalypse, Aziraphale would stay in Crowley's flat occasionally, and one day he discovers Crowley's secretive collection while he is sleeping. Beautiful unknown sketches from Renaissance masters, and there is this painting hiding deep beneath everything else. An angel and a demon standing on Eden's wall.

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The fact that Aziraphale loves the finest things in life is really not surprising for anyone. Food, wine, clothes, even books: everything he owns is the best, and only the best is allowed in his life. He’s the most hedonistic angel you could ever bump into, that’s all. He’s on Earth to collect every beautiful object he can find, as long as it catches his interests obviously, and he has a knack for owning first editions of every book in his shop.

Crowley, on the other hand, doesn’t collect things. Well, he doesn’t collect material things. Even his plants are more of an outlet for him, rather than something to take pride in. His own personal Eden, in a way.

The only mean he has to self-flagellate himself over his Fall.

So, when Aziraphale walks into his flat, he’s not surprised to find it so bare and unfurnished. Hell, he wasn’t even sure Crowley had a table in there (or a chair)

It takes him around five seconds to spot the Leonardo sketch on the wall, but when he does, his heart starts flipping in his chest.

“Good Lord, Crowley- that’s authentic? I never managed to meet Leonardo, but this- how did you get your hands on it?” he whispers in awe, walking closer to the painting and raising slightly his hand as if to touch it, before withdrawing shyly.

“He gave it to me,” Crowley replies, not even glancing at the sketch, his eyes still hidden by the sunglasses, focused on the amazed angel. “When I was in Florence. Lovely city.”

Aziraphale stares at him with his mouth agape. “You. You were friends with Leonardo?”

Crowley shrugs. “I don’t think friends is the right term. He asked me to be his… paramour, of sorts.” he smiles fondly at the memory. “He was a genius, and he had lots of lovers. We became confidants, and he understood when I told him I was not interested in pursuing a more physical relationship.”

If angels had a heart, Aziraphale would be dead already. God, he can’t believe his own ears. Surely Crowley is just messing with him.

“If you don’t believe me, look at the inscription.”

There, in Leonardo’s unmistakable handwriting, a dedication recites: Al mio amico Antonio.

To my friend Anthony.

Maybe he is dead, and this was some weird, post mortem dream he was currently in. It wouldn’t be the weirdest thing.

But no, he’s quite sure he’s not dead, and Crowley knew Leonardo personally-

“Wait,” he exclaims out of the blue. “Why didn’t you accept his offer? I mean, I thought you of all people would-”

“I couldn’t possibly give him what he wanted- devotion. He was a great man, and a good friend, but my heart was never going to be his. He knew that, and respected it.” Now his voice is less soft and blunter. Even harsh, maybe?

Crowley turns around, letting out a small sigh.

“It’s been a long day, Angel. We should rest for a while, ” he mutters. “Are you coming?”

Aziraphale nods, still dumbfounded. What did Crowley mean?

There’s no time for these questions: Aziraphale feels the exhaustion of six-thousand years downing on him, and although he’s never been one to sleep, he’s quite sure he could do so for a good few centuries. He follows Crowley down the hall, every closed door lighting a spark of curiosity in him, until they reach a bedroom.

Unlike the rest of the flat, this room exudes comfort and coziness, with a heavy woolen blanket resting on the bed and a few plants on one of the bedside tables. The bed itself is covered in a tartan bedding, not much different from the kind Aziraphale likes so much, and the angel shrugs it off by blaming a last-minute miracle from Crowley to make him feel more comfortable.

He smiles fondly at the Casino Royale copy next to the lamp, and his smile grows bigger as he notices the demon’s blush.

“Oh Crowley, there’s no need to be embarrassed about your Ian Fleming obsession. It’s endearing, really-”

Crowley groans and hides the book in the first drawer.

“Shut up.”

Aziraphale laughs affectionately at Crowley’s crimson cheeks.

“There’s just- I only have one bedroom, but you can stay here,” Crowley mumbles, lowering his eyes. He’s glad he hasn’t taken the glasses off.

Aziraphale glances at him confused. “Why don’t you miracle one up?”

“I’m afraid I’m not really strong enough to do any kind of magic anytime soon. The Big One before drained me.”

“Oh dear, I’m so sorry! I should’ve realized. Well, it’s no bind- we can just share a bed.”

Crowley snickers. “Won’t that be a tad too fast for your liking?”

Aziraphale rolls his eyes and takes off his jacket before lying down on the left side of the bed. He thinks he sees Crowley gulp, before the demon joins him.

They lay there for a few minutes, not close enough to touch, but still enough to feel each other’s presence.

Aziraphale stops breathing.

“This is new,” he whispers at some point.

“It’s been six thousand years. I think sharing a bed is fine at this point.” Crowley replies, his voice heavy with sleep. He sounds so cute that Aziraphale could die from it. He just chuckles, then closes his eyes.

Five minutes after, they’re both deep in the arms of Morpheus. It doesn’t last long - not for the angel at least - and he only manages to rest for a couple hours.

He gets up quietly, wandering down the hall, snooping in different rooms. They all look the same: bare, cold and unwelcoming. He thinks that Crowley must really have a problem with this whole punishing himself thing. Forcing himself into an environment he hates just to make himself suffer.

He thinks for a second that the flat seems quite a lot like Heaven - spare and unpleasant - but it makes his heart ache. Does Crowley miss being an angel? Does he really regret Falling?

Does he miss his Heavenly home?

He walks into a room, turning the light on. As soon as he glances around, he feels the ground disappear from under his feet.

Sketches. Sketches and paintings are all over the place, ranging from Impressionist paintings to Baroque ones, a collection to rival the Louvre’s.

A whole wall is covered in older pictures, not unlike Leonardo’s one, and many of them have some kind of inscription.

He almost falls to his knees.

“Good Lord-” he whispers in awe. There’s a Michelangelo on his left, half-covered by what looks like a Raphael, and they’re originals. Not actual paintings, but sketches, the first attempts of some of the most famous works of art in the world. Some of these are new to him, and he realizes that they’re the ones that didn’t make it.

There’s one, quite hidden behind another stack, that catches his eye. He carefully takes it out, and his mouth falls wide open.

It’s them.

Two figures on a high wall, in front of a luxurious garden. One of them has white wings, and is using one to cover the other person from the rain. The second one has dark, crow-like wings, and he’s gazing lovingly at the angel. In a corner, a quick scribble.

Che l'angelo possa accorgersi del tuo devoto sguardo.

May the angel notice your loving gaze.

Posted on Ao3

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I literally spent a full hour to recover my capability of language

Show Crowley (showley) goes to restaurants with aziraphale but he never eats anything, so;

Option 1 (boring) he is a celestial creature and doesn’t need to so he just doesn’t

Option 2(stupid) he eats a fancy mouse once a week and that’s it

Option 3 (very good actually) we never see him eat because (like a snake, which he is) he immediately swallows whatever’s on his plate whole as soon as its served and the waiter (terrified) has to just take the plate away

Option 4 (the best) same as option 3 but he swallows the plate as well