batting 2 for 2
see but the fucking. symbolism of crowley not having a home this season. he is quite literally between doors, not belonging anywhere, trying to find a person place to call home.
meanwhile aziraphale still has his bookshop and no idea about crowley's lack of housing because they don't fucking communicate, quite literally stuck in his old space surrounded by old books and ideas. and when he borrows the bentley he tries to change it to make it prettier and more comfortable for himself just like he tried to get crowley to be an angel again.
but crowley in the bookshop? mr. anthony "im not a bookkeeper" janthony crowley? he walks around with stacks of books in his arms, answers the phone, would never dare to actually sell any of his books, and respects his space as what it is. he saves his books in '41 and takes the prophecy book as a "souvenir" when the shop burns down, he knows how important they are to aziraphale.
while him saying you cant leave this bookshop is very much not about the shop, i do think he does mean the shop in a way. it has been their safe place for decades (centuries? im not quite sure how old it really is), and crowley loses whatever sense of comfort and security he still had left without it.
Not to mention that Crowley is the one to have experienced the loss of both the Bentley and the bookshop. Maybe he's so attached because both of these represent the essence of Aziraphale and Crowley separately, and because they symbolise the angel and the demon's bond to this planet, since these are quite literally earthly belongings they collected and grew fond of. If you take away their bond and these belongings, what remains ? What's the point of being there on Earth ? I could picture Crowley asking himself that.
It's interesting. Crowley's journey and relationship with Zira has always been about keeping one's stance, while Zira's has always been about change. The angel keeps on questioning Heaven's ways- even if he keeps saying they must be right, he wants to believe they must be right- but our favourite demon keeps pointing him ways different from Heaven's and Hell's, which explains why Zira didn't feel as put off as Crowley (and the viewers) by the prospect of being promoted. He gave "foul demon" Crowley a try, he's not as bad as he initially thought, so why not give this a try ? (Especially if he can make Heaven do actual good).
But Crowley ? Crowley doesn't know how to handle change. He's distrustful because he's been let down by this whole (divine) system and has found much better with Aziraphale. Why the hell would he go back to something he alone can't change ? Something under the orders of God, who decides what should and should not be ? God, who makes the rules ?
#so yeah. I'm exited for season (or book) 3#because their relation to change and how they handle difficult issues was going to be a stone in their path one way or another#it was bound to happen to their miscommunicative arses#let's hope their relationship grows all the stronger from this !! keep heart everyone ! this isn't over#good omens 2#aziraphale#crowley
no but it's the way for aziraphale "nothing lasts forever" meant "i'm willing to give up the bookshop if it means i can be with you safely" and for crowley it meant "nothing lasts forever, not the bookshop, not earth, not us"
Who else wants to just grab Crowley and scream this at him..... this is probably most of the fandom rn
I'm sorry Neil, although I love your writing and agree with your opinions on most subjects I have to disagree with you on the writers' strike. No-one should have a more privileged life as a result of being clever and creative. I worked from the age of 15 to the age of 65 in low-paid jobs, taking 1 year off to go to drama school and 3 years off to get a fine art degree. I worked in terrible but necessary jobs, labouring, stacking boxes, unloading trucks, running errands, filing, going to work on a bicycle at all hours of the day and night on shift work in all kinds of weather. Even when I was a student I was still working in part-time cleani8ng jobs and even during periods of unemployment I worked in volunteer jobs for charities and social services.
According to Mensa I have an IQ of 160 and according to Plymouth University I have a BA hons in Fine Art but I cannot accept the idea that writers and other creative people should avoid normal jobs like driving an "Uber" or working in an office/shop/factory/construction site. To accept that idea would be to create a new aristocratic class when we should abolishing the old princes and aristocrats.
What we need, I feel sure, is a redistribution of labour so that everybody who can do so would spend some time each year in blue collar work and everybody who can would get higher education and a chance to make art of one sort or another.
The idea of doing other jobs to supplement writing or drawing shouldn't be seen as a terrible thing, a punishment or a suffering. Sharing the jobs around should be seen as normal.
I mean, I've done my half century of sweat labour and it didn't hurt me too much. I'm retired now and still making art of various kinds and I've never asked anyone to pay me for any art piece I've made. making art, writing, drawing etc. is the fun stuff which we get to do in exchange for the blue collar stuff which puts food on the table.
The worst pop song ever written was Sting/Dire Straits song "Money for Nothing" which ridicules the working class from a position of educational privilege.
So what's my question? My question is: What's wrong with a writer doing other jobs to make ends meet? Sounds perfectly fine to me.
Nothing's wrong with a writer doing other jobs to make ends meet. Writers and artists have been doing that since the dawn of time. Actors too.
But by the same token, there's nothing right about assuming that writing isn't a blue-collar job, or that writers and other people who make art can only make it for love and that thus they need other jobs to subsidise their craft.
I like living in a world in which the people who make the things that make the world worth living in get paid for their work. For me, that includes the people who make films and TV, books, art and music and comics.
Having spent a lot of time on film and TV sets, it's a blue-collar world on set, and everyone is working long and hard to make the shows you love. I'm never going to suggest that the riggers or the gaffers or the make-up team or the focus-pullers should drive ubers in order to have the privilege of being on the set and working there.
Or to put it another way, from the most blue-collar writer I ever knew...
The issue about the strike isn't about having a more privileged life than blue-collar people. It's about having sort of, please gods, as privileged a life as blue-collar people... while doing both that work (to support ourselves) and another kind of work from which those who do it never get a day off, from the moment we start it until the day we die.
Not one.
Because Story will wake you up for attention on your days off, on your weekends, on your holidays (as if 95% of writers ever have any!). And as for the waking hours, they're already toast. Story will interrupt you over your coffee while you're hardly even conscious, in the middle of your normal day's paperwork, at lunch (if you can afford or are allowed time for any), in the throes of orgasm with your spouse. It will haunt you while you're changing out people's catheter bags, and come up to surprise you in the middle of an average workday (per a discussion about the Battle of Salamis that I had with a specialist while resecting someone's colon). It will leave you in tears, once again, while wrapping yet another patient's dead body.
Plainly the side of the arts in which you've been working isn't Story. Otherwise we wouldn't be having this conversation.
If you haven't been paying attention to the increasing levels of crap that US-based writers (and, also, others elsewhere) have been dealing with... you need to seek out some education at best speed.
Most of us are lower-paid and (to judge by our income) lower- or middle-class. For the last half-century or so, thousands of writers whose labors you've enjoyed have worked in a storytelling ecology that's supported the vast majority of independent/freelance screen storytellers in making a modest or supplemental living. (For example: my only Star Trek: The Next Generation script earned me about $14,000 [my split of $28K with my co-writer]. After that, low-and-dwindling yearly residuals in the low 4 figures continued for some years after. That's long done, now... but it bought a lot of groceries and cat food while it lasted, while I was also working other jobs.)
That ecology, though, has steadily had the blood sucked out of it with the shift to streaming—when the streamers told us, at the last Guild negotiations, "Nobody knows if this'll work. We'll make it up to you later if it does...!").
...Guess what? It worked. And now they don't want to make it up to us. (And somehow it's hard to be surprised.)
The old writer-payment ecology, as a result, is gone. It's not as if our stories are worth less than they were. (Indeed, evidence suggests far otherwise.) It's not as if the Earth's orbit's changed, or something's occurred that's had nothing to do with human actions. It's because rich people at the top of rich studios and streaming companies have decided they've got better use for the companies' billions of [insert favorite currency, it doesn't matter which one] than fairly paying their writers.
Some of us actually remember how things were before a workable system was broken, and can compare them to how they are now... bearing in mind what we were promised. As a result, better-known storytellers like Neil (and others: it's too late in the evening for me to do your homework for you...) are on strike now to assist those of us who're not so well known. People like me, for whom $14,000, spread over a whole year (or two, or three, or five...) made a big difference in our lives... not like the few hundred dollars now being offered to writers who've done a whole lot more work over a far shorter term.
In the larger sense: it'd be just lovely if the world were so arranged that all of us who prefer to mostly do creative work—because it's what we know best, and do best—were easily able to share (perceived) middle-class labor time around with those who don't do it (like something out of Le Guin's The Dispossessed). …Though most of us have also been doing second or third jobs as well. I don't know any writer who's grudged that if it meant also being able to do the work we love best.
It'd also be lovely if those whose privilege (as per your description) allows them access to higher education could understand the challenges of those whose situation didn't allow them anything of the kind. For example: I was lucky enough to pull down a Science and Nursing scholarship at the end of high school... otherwise my lower-middle-class family's finances couldn't have afforded me any other higher education at all. I happily worked to support myself all during my nursing training, and special-duty nursing kept me alive until my first few novels sold and made enough to kept me afloat.
That was just fine...for me. But I don't see why writers more talented than I (and who can tell who they are?), who've got more than I have to give to the world, should have to work two or three jobs to support their writing.
And I don't see why, having lived through the multiple-job bullshit, your vision should supersede other, less onerous ones. I mean, I’m sorry for the stuff you went through… but don’t see any reason why others should need to go through the same. (“I suffered for my art. Now it’s your turn…” is so 1970s.)
Anyway. For the time being, everyday working writers are fighting that corner right now, the only way we can: by withdrawing our middle-class [by definition of middle-or-low-five-figure-USD$] labor from the people making themselves rich off it. And isn't it funny that the people from whom we've withdrawn it are so desperately trying—via AI, etc.—to find a way to do without our labor entirely? (As if what would pass for daily donut money for most series is somehow too expensive...?) It kinda indicates that (color-of-collar) class isn't at all the issue here.
Understandable, then, that you might be glad you're retired... and not down in the trenches with the rest of us. Those of us still working hard to survive (including me, still writing at 71 despite theoretical "retirement ages"—impossible for us to consider in this "new world" economy…) hope to survive long enough, if we're as lucky as you, to eventually, have something similar.
Meanwhile, those of us who weave stories for the entertainment of those around us would just like to make enough from this work to buy groceries and pay our electric bills and feed our spouses (for those of us who have spouses), or kids (those of us who have kids). ...Or cats. (etc) You know: the kind of things that ordinary blue-collar people have.
And for their sake: just as the writers before us (in the 1960s) fought for the right to the then-revolutionary concept of residuals, we fight. Not just for ourselves, but for the writers to come after us, who also have spouses and kids*... and tales worth telling.
*And cats.
⚠️ ROAD WORK AHEAD ⚠️
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⚠️ END ROAD WORK ⚠️
how does this only have 1400 notes
end road work? aw fuck i hope this car flies
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Someone add do you love the color of the sky
Someone do NOT do that, I’ll kill you with my flying car
I don’t have the original but I have this. Kill me.
I’m going to hurt all of you
Good to know we all are hellspawns with the same mindset
Welcome to hellsite, babes
Take a fuckin sip
big-innit-hotel
you’re all insane
I think this is the longest post on this site
I AM
SOBBING
MOBILE USERS IM SO SORRY
The Vast
ill-fudging-kill-you
here have another bitchy addition
SOMEONE QUICK! ADD THE BEE MOVIE SCRIPT ONE
ill-fudging-kill-you
heres the link you do it im tired
Yes that one thank you
You’re welcome
ill-fudging-kill-you
the site or app is probably gonna crash from trying to load all the images im not even sorry you must suffer with me
viva-la-resistancce
leatherwingsinc-deactivated2015
I was being cancelled because apparently it was classist to put feathers on dinosaurs.
Both dream me and irl me were very confused.
it might have been a dream, but feathered dinosaurs being linked to an ideology isn't that uncommon. Them being viewed as "leftist", "woke" or "gay" has occured several times.
I collect these examples.
reblog if you like dinosaurs, are gay, or just really like feathers
I was talking with the GC last night about why Aziraphale looks so damn angry after the kiss, and I think it's about choices - specifically being forced to make a hard choice.
Look how happy Aziraphale is when he tells Crowley what Metatron said. This offer is the best thing ever! Crowley gets to come home and Aziraphale is the one who gets to give him that gift.
He can make Crowley smile like this again:
But Crowley says no. He says NO. He won't listen, he doesn't understand. He wants to run away, Aziraphale wants to make a difference. It hurts. It's breaking Aziraphale's heart. But it's Crowley's fault. Crowley is the one walking away. Crowley is the one rejecting him. Aziraphale has the moral high ground.
And then Crowley flips everything upside down by kissing him. Crowley clings on to him and pours all his love and all his desperation into this kiss.
Suddenly Aziraphale is the one rejecting Crowley - and Crowley has put him in that position. He can't claim this was Crowley's choice anymore. It's on him now.
But how can that be? Aziraphale is making the right choice... isn't he? He's the good one, Heaven is the good side, Aziraphale is on the right side. How dare Crowley make it hurt so much? How dare Crowley make him doubt?
For all that Crowley has always been the one to challenge Aziraphale, Aziraphale has never been able to let go of the idea that Heaven is the side of good and light. Ascending as the Supreme Archangel should be the greatest moment of Aziraphale's existence but Crowley has made it hard. As much as it hurt seeing Crowley walk away, it hurts so much more to be the one walking away from Crowley.
"Be not faithless, but believing", says the Bible. Crowley has made him doubt, and that's the worst thing he could have done.
Crowley really had it right when he asked how someone so clever could be so stupid.
Hi, Neil. This is not the first ask I've sent you and I know you're very busy so I apologize. I just wanted to let you know, because I know how much you enjoy our pain, that my partner finished GO season 2 late last night and I woke up this morning to nine voice messages and forty six texts from him. Most of the voice messages were unintelligible because of how hard he was crying but here's a little piece from one of them: "... Like, he's such a great author and such a great person...[unintelligible sobbing]... why would he do this to us?!" I was hoping that maybe you could respond with something to assure him that our Ineffable Husbands will be okay. I really need help cheering him up, he's very upset. His name is Kai and he really is a sweetheart - very tenderhearted so he took it pretty hard. We're both big fans of yours so it would mean a lot, but I completely understand if you're too busy.
Much love,
Blu
Tell him it's okay to feel things and to care about fictional people and about stories. And reassure him that this story is not yet finished. This was the quiet and romantic jam in the apocalypse sandwich, and we have a way to go before it's done.
uh so i never do this but maui is quite literally on fire and there isn't nearly enough care or consideration for. you know. Native Hawaiians who live here being displaced and the land (and cultural relevance) that's being eaten up by the fire. so if ya'll wanna help, here's some links:
maui food bank: https://mauifoodbank.org/
maui humane society: https://www.mauihumanesociety.org/
center for native hawaiian advancement: https://www.memberplanet.com/campaign/cnhamembers/kakoomaui
hawai'i red cross: https://www.redcross.org/local/hawaii/ways-to-donate.html
please reblog and spread the word if you can't donate.
Just learning about this (!), and reblogging for visibility.
Also sending worried love to all my friends and all the people I don't know in Maui.
Calling All DSMP Artists!
The Eggpire— in the style of the Charlie's Angels movie poster
Benchtrio— in the style of Leyendecker
Sapnap— in the style of a firemen charity calendar
Philza— in the style of the Hilda pin-ups
Tinarose— in the style of Mucha
Are any of these something you would like to draw? Do you have even better ideas you want to pitch us?
DSMP Pin-Up Calendar is an artistic celebration of the characters of the DSMP, drawing inspiration from the creativity of the fandom community, "hot guy" calendars, action movie posters, classic pin-ups, vintage advertisements, art prints, and more, in the form of a 2024 calendar. We are looking for 12-14 artists willing to create a high-quality piece suitable for inclusion in a calendar. Sign up and tell us which characters you want to draw, all DSMP characters are welcome!
No previous calendar or zine experience necessary, we just want to see your work!
Applications are open from August 11-25, closing at 11:59pm EDT on the 25th.
Calling All DSMP Artists!
The Eggpire— in the style of the Charlie's Angels movie poster
Benchtrio— in the style of Leyendecker
Sapnap— in the style of a firemen charity calendar
Philza— in the style of the Hilda pin-ups
Tinarose— in the style of Mucha
Are any of these something you would like to draw? Do you have even better ideas you want to pitch us?
DSMP Pin-Up Calendar is an artistic celebration of the characters of the DSMP, drawing inspiration from the creativity of the fandom community, "hot guy" calendars, action movie posters, classic pin-ups, vintage advertisements, art prints, and more, in the form of a 2024 calendar. We are looking for 12-14 artists willing to create a high-quality piece suitable for inclusion in a calendar. Sign up and tell us which characters you want to draw, all DSMP characters are welcome!
No previous calendar or zine experience necessary, we just want to see your work!
Applications are open from August 11-25, closing at 11:59pm EDT on the 25th.
we’re gonna be ok btw
it’s ok if you’re scared. or tired. or unsure. or one million billion other complicated emotions at once. but i’ve decided things are going to be ok anyway. and i will hold that belief close to my heart no matter how scared or tired or lonely or depressed or one million billion other things i am. i will hold onto that. and if you’re scared, you can hold onto me. we can carry each other through
“What’s the point of having a flaming sword if you don’t at least use it once to roast marshmallows?”
So this is a redraw+expansion of a doodle I did way back in 2014.
It’s nice to know that I’ve improved lol. 2014 me, I got you fam. And of *course* Crowley feeds Aziraphale. He’s a gentledemon after all. 🖤 (Just don’t tell him I said that…)
So, I feel like I’m losing my mind. I keep seeing metas about how Aziraphale wants Crowley to return to Heaven and be an angel again because he wants them to be on the same side/be good/change/etc., etc., etc. but I don’t see that at all. I actually see it as the very opposite.
Aziraphale loves Crowley just as he is. But there’s something more. Something huge.
a random assortment of my tweets on house md. guys this show so ruining my life
#yes hugh laurie is british I still haven't recovered#the upside is that he used to be in a comedic duo with Stephen Fry named A Bit of Fry and Laurie and it's. gold#seriously some of their quotes are absolute meme material#and apparently they were a pretty big deal back in the 80s#house md#hugh laurie
All jokes aside, House is literally canonically queer, and if you hate and deny it, you really need to do some self reevaluating and consider the biases you have.
no yeah exactly when i say its "literally canon" i don't mean that if u look hard enough there's easy headcanons i mean you have to make excuses for and deny actual things that happen in the show to not know he's queer