#except perhaps Crowley

[twilightcitysky]

Honest Angel by Twilightcitysky

3000 words, rated E, complete

“That’s why you decided to drive a scooter to the Downs? You wanted to break laws?” “I planned to trespass, too,” Aziraphale said conspiratorially. “Mr. Haverford’s estate has a lovely view of the ocean.” Crowley burst out laughing. He couldn’t help it. But Aziraphale blushed and looked twitchy. “I suppose it would seem funny to you,” he muttered. “It’s just… angel, you like being the good one.” He ought to, he’d lorded it over Crowley often enough. “I can do unexpected things.” Aziraphale turned to face him. His expression was a strange mix of contemplation and terror: a first-time parachute jumper looking out the open door of the plane. “I know that, but you don’t–” “And I can go fast,” Aziraphale said. His eyes dropped to Crowley’s lips. Crowley’s stomach swooped. “Angel–” “I can break rules,” Aziraphale whispered. “Especially the ones that don’t make sense anymore.”

Read it here on AO3! Thank you to @copperplatebeech for the banner!

I'm going to try tagging a few people when I post fic on Tumblr-- since things get lost so easily here and I always appreciate being tagged by others! If you'd like me to remove you from (or add you to) my tag list please let me know. And if you create something that you'd like shared, always tag me!

@hasturswig @kanna-ophelia @princess-spock @cinnabarmint @ashfae @tyrograph @siriosa @amberly333 @octoberspirit @madbethsb @valquainton @unuora @marsch00 @laurashapiro-noreally and of course @copperplatebeech who has been trying to get me to do this for months. Love you babe.

Thank you so much if you reblog!

#ineffable husbands #good omens #good omens fanfic #good omens fanfiction #my fic #aziraphale is just enough of a bastard to be worth knowing #he also gets hot and bothered after getting arrested and everyone knows this #except perhaps Crowley #first time #doing it in the Bentley #fluff and humor and love #and spice #reblogs always appreciated ❤️

[slouchingwriter]

Dear Good Omens, with love

I've seen a lot of discussion surrounding Good Omens and it's all heart breaking, hilarious, well written and beautiful but -

Is anyone else just filled to the brim with love? The thought of love, the complication in love, the passion and the lack of it, the fact it might last forever or for only an instant, but that it's wonderful anyway? I want to see the breakdown of every scene, the tiny micro expressions in the gifs because whoever was on set that day believed in it, I want to read about all the various ways it could turn out. What a gift that it's touched so many people and I hope it's not all heartache and yearning, I fancy it's because it's hard not to be invested in love, however it comes. If it's romantic, found family, platonic, enduring or just saving everyone on earth, as grey as we all are.

What a treat that the people who made it seem to love it just as much as we do, and that throughout - and every time we read the book again or watch the show, decades from now - that feeling will still be there?

I read somewhere that every story is a love story, in all its various incarnations and even in the lack of it and in the loneliness that comes with that - there is the appreciation of it. Like looking at where the furniture isn't.

When you're having a tremendously bad day one day, and you will be, you can take a peek through the looking glass at this well told love story - and feel that love again.

#good omens #gomens #writers on tumblr #love #love to love #aziraphale #crowley #poets on tumblr #gabriel x beelzebub #nina x maggie #every story is a love story except perhaps the ones that aren't #and even then #michael sheen #david tenant #neil gaiman #lgbtq #lgbtqia #ineffable husbands #aziraphale x crowley

[inconveniently-discorporated]

I think I have a potentially controversial opinion on Aziraphale and the ending.

So one of the things that made me smile so, SO much, was THIS:

That PURE ABSOLUTE UTTER JOY.

We have not seen ANYTHING like that from demon Crowley. We've seen him be drunk and silly, we've seen him be amused, but we've not seen this.

Now, let's consider what we know about Heaven:

It's never fully populated. ALL of the shots are completely devoid of angels, except for a few, who are almost always just getting somewhere and never really talking to each other.

Where I thought the archangels were a tight clan, it really looks like they're super catty and prone to jealousy. No doubt they would stab each other in the back happily if it came down to it. How much of Heaven is like that, if even the archangels all hate each other?

Aziraphale already has a nervous disposition when he meets Crowley. Is he perhaps an angel that NEVER fit in? Is he familiar with being ostracized by his peers? Just how lonely IS Heaven? Crowley seems to be a pretty powerful angel, and HE doesn't even know that it's all getting shut down in 6000 years -- it's like no one talks to anyone.

Aziraphale, during their whole meeting, looks absolutely smitten. At one point, Crowley goes, "Look at you! You're gorgeous!" and Aziraphale looks over with happy surprise, just before realizing he's not looking at him but rather at what he's created. And then, when Crowley starts going on about making suggestions and asking questions, Aziraphale is IMMEDIATELY concerned and doesn't want him to get into trouble.

Aziraphale is hooked on this angel, and I cannot help but think that this is perhaps the first angel who has ever WELCOMED Aziraphale into his company.

He is hooked on this angel, and the way Crowley smiles is with the light of all the stars he's just created, and it's infectious and it brings a smile to Aziraphale's face as well. And then this angel shields him from the oncoming falling stars.

He is hooked on this angel, and then this angel goes and joins the Great Rebellion, and becomes fallen himself.

"You were an angel once," Aziraphale said, softly, at the bandstand. He remembers.

I think it's reasonable to guess that Heaven has never felt so warm as it did in the presence of millions of exploding stars, next to the (arch?)angel that may perhaps be one of the few (only?) to pay him any positive attention.

I think it's reasonable to assume that Heaven was not the same after Crowley fell. I wouldn't be surprised to find out Aziraphale had wondered about the angel, wondered if he was okay. I would imagine that Aziraphale keeps that picture of pure, angelic, unbridled joy somewhere inside of him.

So, really, is it any surprise that threaded throughout EVERY interaction, Aziraphale has this deep-down feeling that Crowley is good? Would it be any surprise that Aziraphale, an angel who goes along with Heaven as far as he can (which isn't always), feels that if HE is still an angel, then what was done to Crowley was a great injustice?

I think it would make sense that we are shown "before the beginning" not just because it is fun, but because THIS is the foundational context for everything Aziraphale thinks Crowley is, everything Crowley enjoys. I think he remembers this moment and wishes he could live there forever. With Crowley. The two of them with this happiness, forever.

But nothing lasts forever, as much as he wishes it did.

I'm not saying Aziraphale was right with what he did to Crowley at the end of s2. There is a lot I think he did wrong. I think he held onto this picture so tightly, he didn't realize that Crowley had long since let it go, and painted a new one with Aziraphale with all the shades of grey he picked up as he sauntered (or plummeted) vaguely downward (into a pool of boiling sulfur).

I don't think he was right, but I do think he is understandable. I think there was a lot of selfishness, but also some misguided selflessness too. I watched that first scene with angelic Crowley and my heart actually broke a little, because I thought, "What a shame this joy was taken away from him."

I think Aziraphale is trying to right the injustice he feels has been done. But I also think Aziraphale doesn't realize that Crowley can never go back. The concept of falling never crossed Crowley's mind when he suggested that he ask a few questions, and he will NEVER get that kind of innocence back. And Aziraphale doesn't understand, because Heaven has clearly always just been that way for him (he is already aware of the danger of asking questions).

Crowley does not want to go back because he can never go back. He can never be the same angel he was when he thought he could build a universal machine that would crank out stars for eons and eons. He can never be the same angel he was when he thought he could make some suggestions and ask some questions and co-create with THE Creator.

Crowley understands that, and Aziraphale doesn't. But I can understand why Aziraphale would want to try. And I think it's all because of this:

#good omens #gos2 spoilers #good omens meta #aziraphale analysis

[actual-changeling]

a continuation of this post

-

Demons do not need to sleep, and yet he does, mostly because time spent unconscious is not time spent crying, which demons also do not do, and yet.

A deep, crushing pain resides in the middle of his chest—a heartbreak not entirely unfamiliar; he never forgot the smell of burning books and the lack of his angel's presence anywhere on earth. He never forgot what it felt like to lose Aziraphale, and the reminder he received was entirely unnecessary.

If anyone were to ask, he'd deny the crying, arguing that technically not a single tear has left his eyes in the last three months, sixteen days, and seven hours—not that he is keeping count—although there is no one left to care. Except Muriel, who adjusted surprisingly quickly to living on earth and having a demonic snake curled up by the window.

Crowley sleeps and endures a never-ending series of nightmares for about two months, and while he wakes and slithers out of his chair, he decides to remain in his serpent form.

The most surprising development is perhaps how easily he bonds with Muriel. They offer up a steady arm, having switched the uniform for a sunshine-yellow pastel jumper and a simple black skirt, and to hell with it all, the warmth, the touch, the soft breaths, and the regular heartbeat pulsating next to him do not heal the wound, but they stop the bleeding; for a while, anyway.

So they go about their days, Crowley coiled around their shoulders while they read or do inventory, reorganise books, and then organise them differently as soon as they're done, never selling a single copy. They sing, too, having apparently discovered a lot of earthly pleasures during his nap, low and quiet, soothing in a way he did not expect.

Once upon a time, not too long ago, the Serpent of Eden wrapped around an angel's shoulders was a familiar sight. The serpent remains unchanged, although if you were to ask anyone regularly passing by the shop, they'd tell you it seems sadder now, somehow.

The angel has changed, however.

As time passes, Crowley waits not in a garden but in a bookshop, longing for a thunderstorm and a white wing above his head. He watches the sky, he watches the door, and he waits and waits and waits.

#alex talks good omens #good omens #ineffable husbands #crowley #muriel #crowley and muriel #aziraphale #good omens season 2 #go2 #aziracrow #crowley x aziraphale #ineffable divorce #sorry if you expected fluff angst is all i can offer at the moment take it or leave it

[captainfantasticalright]

So the Good Omens: Official and Ineffable Graphic Novel is getting a-closer and closer. Here are some fun facts that Colleen Doran shared with us during the Ineffable Con 4.

(These frames featured here are all sneak peeks that have been shared with us; except for the Atlantis one, that is there for comparison purposes and obviously photoshopped Crowley on a horse).

Perhaps as another fun fact: apparently Neil Gaiman started a sort of bet for the Kickstarter campaign- whoever got closer to the total amount would get a cake! Neil actually had the closest bet, but he gave cakes to everyone else instead. Colleen on the other hand said she had the lowest bet.

@colleendoran is truly magnificent! An OG GO fan and once again, we are eternally grateful for your constant hard work!

#crowley #good omens #aziraphale #good omens fun facts #ineffable husbands #terry pratchett #neil gaiman #easter eggs #good omens graphic novel #colleen doran #ineffable con #TIC4

[harunayuuka2060]

MC: Huh? Who are you people? And where am I?

Ace, Deuce, and Grim: ...

Grim: What are you saying? Did you hit your head or something?

Ace: Were you too absorbed on the movie we watched yesterday?

Deuce: It might be. But I don't think you should pretend to have lost your memories.

MC: *stares at them blankly*

Ace, Deuce, and Grim: ...

Ace: Wait. Are you for real?!

Ace, Deuce, and Grim: AMNESIA?!!

Professor Crewel: Yes.

Ace: What's the reason?! They were just fine yesterday!

Professor Crewel: You mentioned that they watched a movie with the three of you?

Deuce: Yes.

Ace: It's a viewer's POV and it's about experiencing what it's like to have an amnesia. Of course the options are already decided and all needs to be done is to watch it.

Deuce: We were not really paying attention, except Prefect.

Grim: They were watching it closely.

Professor Crewel: Hmm... Bring me the movie. I would need to examine it to see if it's the cause of the problem.

Professor Trein: This is unfortunate.

Crowley: It is! Oh the tasks that needed to be done immediately!

Professor Trein: That's your job.

MC: ...

MC: Excuse me, I want to ask...

MC: Are you, perhaps, my family?

Professor Trein and Crowley: ...

Professor Trein: N—

Crowley: Yes! I am your father and Professor Trein is your grandfather!

Professor Trein: Excuse me?

MC: *looks at Crowley in confusion* My father?

MC: But... Professor Crewel said that he was my father...

Professor Trein and Crowley: ...

Professor Trein: That's right. Professor Crewel is your father. This one right here is an imposter.

Crowley: Pardon?!

Professor Trein: Come here, my dear grandchild. You shouldn't be talking to him.

Crowley: Wha—

Malleus: The child of man... has lost their memories?

Silver: Yes. That's the situation.

Malleus: ...

Lilia: Malleus? Are you alright?

Malleus: ...

Malleus: *starts to tear up*

Sebek: W-Waka-sama?!

#twisted wonderland #twst mc #twst ace #twst deuce #twst grim #twst malleus #twst lilia #twst sebek #twst silver #twst crewel #twst trein #twst crowley #twst amnesia

[vidavalor]

Crepes: The 1.01 sex meta thing

Alright, my romantic and horny murder hornet friends...

...come and get your very requested 1.01-scene(s)-that-shows-that-Crowley-and-Aziraphale-are-lovers sex meta thing.

We'll be getting a bit blush-inducing NSFW under the cut so keep that in mind...

As Fraulein Maria suggests: Let's start at the very beginning... a very good place to start... when you read, you begin with: A, B, C...

...when you speak Ineffable Husbands, the show tells us, you begin with: lunch, alcohol, and crepes...

We're going to do this semi-glossary-style, since those have proven popular and it works well for this. There are some very brief mentions of Satan's attacks on Crowley, for those that would like to know of that ahead of time. Other than that, I don't think any other trigger warnings apply.

"Gentlemen, in your role as the audience, could you, perhaps, give us more to work with?" -- William Shakespeare, 1601, meta-ing for the writers and performers of Good Omens, requesting us to dive a little deeper.

Temptation accomplished.

~~~

Secret language. A language spoken by secret agents for the purpose of keeping the full, true meaning of their conversation hidden by those who might be observing them. Comprised of code words and phrases that contain other layers of meaning beneath the more easily understood surface layer. Difficult-- and, at times, impossible-- for those who do not speak the language to understand it without a key that unlocks at least one word of the language, revealing the hidden conversation beneath the surface.

Key. Additional context that reveals hidden meaning in a secret language by providing understanding of other layers of meaning beneath the surface in a conversation between secret agents.

Example: some bleating goats in 2500 B.C. illustrating for Aziraphale via additional information and context the true meaning of Crowley's words in the scene. Most keys in Good Omens are separate scenes; this one is an exception because it's the origins of their secret language in the first place. This is also a partner scene to the "no nightingales" moment in 2.06.

Partner scene(s). In Good Omens, a scene or scenes which act as keys to other scene or scenes, providing information and context necessary to fully understand the initial scene, which is usually one we saw earlier in the story.

Example: The Bullet Catch scenes in The Blitz, Part 2 in S2 adding layers of context and meaning to both Crowley and Aziraphale with the paintball gun and Crowley giving the office workers miraculous escapes from death at Tadfield Manor in S1.

Crowley and Aziraphale. Supernatural secret agents of sorts, introduced to us that way by our narrator, God, who points out their penchant for meeting alongside human secret agents in St. James Park. They speak in a secret language that we'll call in this meta Ineffable Husbands Speak that only they-- and God-- speak fluently... but for which Good Omens has been slowing giving us enough information to learn how to speak as well.

Code words. Often neutral-sounding and very common words--by design-- in order to keep the hidden meanings of the secret language secret from outside observers by making it sound like everyday conversation. As a result, code words have dual layers of meaning: they refer to a literal thing on the surface level but also have a secondary meaning beneath that within the secret language.

Example, in Ineffable Husbands Speak: "dining at The Ritz."

To "dine at The Ritz" (in Ineffable Husbands Speak). Surface, literal level: to eat a meal at the restaurant at The Ritz-Carlton, London. Hidden level: to take steps towards being less secretive about their relationship and to live more of a life that is theirs together.

Code phrase/cypher. A phrase that sounds as if it has a single, understood meaning on the surface but is comprised of code words put together to convey a meaning that is hidden from anyone who might hear the phrase but does not speak the secret language. Impossible to understand unless you either created the language or were given instructions on how to speak it... unless you can come into possession of a key that can unlock it.

If spoken to someone who does not have a key to understanding it, they might possibly be able to recognize that you are speaking in a kind of code... but they will not have the understanding of the double meanings of the keywords, nor the context required, to figure out just what the hell you're talking about.

Example: "The clarinet can make beautiful music."

Good Omens included this scene right near the start of the season in 2.01 in which both Crowley and we the audience have no idea what Agent Fuzuli is *really* saying, even if his sentence makes technical, if not really contextual, sense. We can recognize from his over-the-top obvious spy-speak that he is speaking in code. They did so to highlight the existence of hidden language in the show and how important it is to unlocking more layers of meaning in the story.

Neither we nor Crowley expressly need to decode this particular sentence to understand what's happening in the story of Good Omens because Good Omens is not about the romance of Agent Fuzuli and his new paramour, the Azerbaijani Sector Chief. (Cupid!Crowley really out here matchmaking everyone in sight in S2 lol.) If it were, we would be needing to figure out what this clarinet and its beautiful music are all about. Instead, though, the show is suggesting that hidden language and decoding it is paramount-- but we should focus a bit more on the secret language of our main characters Crowley and Aziraphale instead.

Sexual innuendo/sexual euphemism: A kind of secret language in which something that is not inherently sexual is given a sexual connotation. Relies heavily on suggestive tone and context. Often full of in-jokes. Often done to soften talk of sex-- and, just as often, paradoxically, tends to make things actually a bit sexier. Relies on a sense of humor and so increases a sense of playfulness and fun between partners. Is flirting by way of creating a secret language out of innuendo.

Example: To "mend his shirt" in the (code-named) Mrs. Sandwich's sexually euphemistic speak, as brought on by Aziraphale's 19th century-era magic during The Ball, is to give a blowj-- well, actually, here: Crowley will define the innuendo for us through the use of partner scenes...

"Fine *stable* of ladies"... the horse statue where Crowley keeps his glasses in the bookshop... mending Aziraphale's shirt in a way evocative of mending Aziraphale's shirt...

Mrs. Sandwich. A "seamstress." Not her real name. A walking, talking intersection of secret language, innuendo and sex in Good Omens, whose name and the content of her scenes help us confirm we're on the right track in decoding Ineffable Husbands Speak.

Sandwiches. Popular, common food that can be eaten anytime during the day but are most commonly associated with lunch.

Lunch. Midday meal. What Aziraphale offers to buy Crowley in thanks for Crowley rescuing him from The Bastille in the Paris, 1793 scene.

Paris, 1793/The Bastille. Partner scene that acts as the key to the 1.01 scene-- and its subsequent scenes-- that shows the nature of Crowley and Aziraphale's relationship through their use of secret language.

Let's Have Lunch. The 1.01 scene that, when unlocked using its partner scene of 1.03's Paris, 1793 scene, reveals that Crowley and Aziraphale are lovers. How so? Read on. :)

Armageddon: Round One. The end of the world and what Crowley and Aziraphale both separately learn is in motion in 2008 in 1.01. They meet the following day to discuss it and the show tells us then, at the start of the story, exactly one bullet point on their shared timeline-- the very first thing we ever learn about the entire 6,004 years that they have been living on Earth together since the last time we saw them together in Eden. Something important enough that it received its own partner scene in the 1.03 Cold Open basically entirely to help decode this scene in 1.01-- and re-contextualize the 2008 minisode (and a lot more) as a result.

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

As Crowley & Aziraphale head through the park and argue over whether or not to stop Armageddon, they eventually reach the spot on the side street where Crowley has parked The Bentley. This brings them to not just a conversational impasse but a physical one-- there's nowhere left to walk because they're now at the car and this is when Crowley says:

"Well, let's have lunch, hmm? I still owe you one from..." At this point, we're too busy being charmed by this vintage-y angel and this rock star demon who lunch together on Earth arguing over Armageddon to barely notice the content of this scene and that might be by design. It is sandwiched between two other scenes, both of which understandably get a lot more attention: the "celestial harmonies" conversation on the bench in St. James Park and the kinky lunch at what we'll later learn is The Ritz. ("Lunch" in Ineffable Husbands Speak is not *just* the food kinky lunch, as we'll get into below.)

We also don't yet have the key the first time we watch this scene to decode it because we aren't given that by Good Omens until the 1.03 Cold Open and its Paris, 1793 scene. We can pick up on some vibes in this scene in 1.01 but unless we use the Paris, 1793 scene to fully decode Let's Have Lunch in 1.01, we aren't actually understanding what they are saying and, as Fraulein Greta Kleinschmidt would say, we must know what they are saying... (since we're all not Nazi Zombies, we'll be able to actually figure it out...) :)

...but we do now have the 1.03 Paris, 1793 scene so now, let's check out the moment this scene becomes, um, important-- and that is Aziraphale's response to Crowley's invitation to lunch:

Oh, what's this now...? Crowley owes you lunch from *when,* Aziraphale? From "Paris, 1793", did you say...?!

You mean from the time that you dragged Crowley to The Bastille to save you from a situation you put yourself in and could get yourself out of the entire time because you have a Neil Gaiman-Ask-confirmed, canonical thing for him rescuing you (and because, as a fun S2 partner scene suggests, rescuing you always does make him so happy) and you were so very grateful for the rescue that you offered *to buy him lunch*?! A lunch that this scene in 2008 will confirm you went and had together? A lunch that we had *an entire, separate scene about* in the middle of the 1.03 Cold Open-- alongside The Arrangement and the 1862 breakup and 1941 and the 1967 holy water scene, in terms of importance to understanding this relationship from the show's perspective? THAT LUNCH?! lol

Paris, 1793. The ONE TIME IN THE ENTIRE HISTORY OF THIS RELATIONSHIP lol that it can be safely said that Crowley absolutely, 150%, *most definitely does not owe Aziraphale lunch*. The time we had a whole extra scene over, just to confirm how much Crowley does not owe Aziraphale lunch from this one time in Paris in 1793...

Well, well, well... seems we have ourselves a key. :)

Lunch. Code word in Ineffable Husbands Speak. A code word that, when unlocked, helps to unlock additional language, as we will see.

If Aziraphale's reply to Crowley's lunch invitation is to say the one time in history from which we know Crowley doesn't owe Aziraphale lunch, then Aziraphale's reply is really in response to the hidden, second layer of meaning beneath the lunch invitation, which means that Crowley isn't just asking Aziraphale if he wants to go grab the midday meal together and Aziraphale is more than aware of that. As we will see from the dialogue below, this suggestion that they have lunch on the surface level is also, on the hidden language level, a suggestion that they have sex.

So, ok, let's try this 1.01 scene again, now that we've started to factor in the information we have from its 'Paris, 1793' partner scene from 1.03...

What Aziraphale Is *Not* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to time travel to The French Revolution for lunch; that he would like to go to Paris in the present for lunch; that he wants to go to their favorite creperie; that he wants to go get himself locked up in a maximum security prison so Crowley can come rescue him...

What Aziraphale *Is* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to go to lunch and also that he would like to go to *lunch*-- which is to say that he's in agreement that sex sounds perfect-- and that what he "wants for lunch" is a repeat of how they made love in Paris in 1793.

Let's repeat that because mmhmm lol...

Sitting there in the middle of the second half of Crowley and Aziraphale's second scene in person together, in the middle of the first episode of the show, is Aziraphale recounting sex he and Crowley had over 200 years prior to when this scene is taking place in response to Crowley's suggestion that they shake off the Armageddon blues by sexy lunching their way to spending the night in Aziraphale's bed.

This conversation on the surface is about going to lunch and they are very funny with the literal part of their secret language, as they will actually go to lunch, as we know-- and during that lunch, Crowley will make a joke about the dual layers of meaning of their language when defining the next word in their language for us, which we will get to in a moment. For now, though, let's just go back to the "let's have lunch" scene here and look at the rest of it now that we can understand it on both levels of meaning...

"Well, let's have lunch, hmm? I still owe you one from..." Crowley does not actually owe Aziraphale lunch; this is a way to throw the decisions to him, keeping it sounding like they are just talking about eating lunch-the-midday-meal on the surface when we now know that it's more than that. He trails off and both verbally and non-verbally indicates a whole "you tell me" attitude, having offered up the idea and now giving the choice to Aziraphale. (It's not a magical influence "you tell me" like he did with Sitis, just a verbal ellipsis/non-verbal head shake that hands the conversation over to Aziraphale.) As a result of this and their responses in the rest of the scene, this becomes:

"Well, let's have lunch, hmm? I still owe you one from..." Well, let's have sex, hmm? Let's do our kinky lunch thing. Tell me what you want for later and we'll do that. Whatever you want. Armageddon already fucked up our lunchy dinner that we were supposed to sneak out to have at the fascinating little sushi restaurant where they know you last night-- it can go fuck itself for the afternoon. We're both depressed and tired. Eleven years left. We're almost out of time. I just want to be close to you. Let's have lunch.

"Paris. 1793." I could eat. I never can resist you, you know that. Remember Paris? After The Bastille? I'd like that.

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

Someone had a very nice time in Paris in 1793 if that little smile and that look and the little "yessss" are any indication. Crowley is down with revisiting The French Revolution and after this, they're both just heading to The Bentley as they continue talking because lunch is on. But why are we even talking about Paris 1793 when we have all seen this episode and know they aren't about to instantly drive back to the bookshop and get their Bastille on?

Anticipatory kink. When partners arrange to have sex in the short term but not immediately and spend the interim time discussing the sex they plan to have as a way of arousing one another over anticipation of the future lovemaking. A form of psychological edging/delayed pleasure. Fancy way of saying 'teasing the fuck out of each other' lol.

The first part of lunch for Crowley and Aziraphale is deciding what's for lunch-- before they go to have lunch-as-in-some-food-- even if part of lunching is that they aren't going to have sex for hours still to come. In addition to the anticipatory element, it's just fun to talk to your partner about sex and the way they do so also has them euphemistically refer back to past times they made love as a way of turning each other on with the memories of those past encounters-- so, doubly fun.

"Yessss. The Reign of Terror. Was that one of ours or one of yours?" Crowley's response to "Paris, 1793." He says 'The Reign of Terror' a little sarcastically, implying that while that is the historical name for the era, he and Aziraphale were actually pretty happy during it, which goes along with what we saw in The Bastille scene. On the surface, though, Crowley and Aziraphale are still attempting to make it sound like they're talking about The Reign of Terror so, technically, "was that one of ours or one of yours?" is a question that is supposed to be about who (Heaven? Hell?) was responsible for The French Revolution but oh, that Paris, 1793 scene is a good partner scene as we know the answer to this question, too...

The French Revolution. Not Crowley's demonic work. The humans thought it up themselves. Established in the Paris, 1793 scene, to help us better understand this bit of the Let's Have Lunch scene.

"Was that one of ours or one of yours?" Look at the wording of that. By definition, since Crowley is speaking to Aziraphale, the "ours" has to include Aziraphale. It's a subtle but present indicator that this isn't entirely smooth language on the surface here because it's accounting for two layers of meaning at once. If it is just about who is responsible for The French Revolution, the sentence doesn't actually make sense but that's because it's designed to sound like something of a casual reply to the surface question about The French Revolution but this conversation is now happening more on the second, hidden level and there, it really means:

We had all the sex in Paris in 1793, angel. Talk to me more about what's got you all hot for The Bastille. I remember all of it but want to know what's lighting you up here so to keep us talking about it, I'll start throwing out some options from Paris under the guise of pretending I'm talking about who is responsible for The French Revolution. Was that one of ours or one of yours? Meaning: do you want to fuck each other later or am I fucking you? By tossing these both out as options I'm obviously also saying that, if you're up for it, I'm in the mood for "ours". I currently have both the need to be inside you *and* the need to get done into next Thursday right now...

"Can't recall." Aziraphale's response to "one of ours or one of yours?" A blatant lie on every level lol. He remembers that the humans were responsible for The French Revolution and, based on how quickly he reached for it when asked what he wanted for lunch on an especially harrowing day, Aziraphale remembers every damn minute of the two of them in bed in Paris in 1793. He knows as much as Crowley what they got up to. "Can't recall" is a reply designed to sound like he can't remember who is responsible for The French Revolution on the surface level but answers Crowley's question on the hidden language level by using "can't recall" to signal that he doesn't have a preference. It's whatever you would like is fine with me. He's definitely noted the "ours" request, though, as we'll see later on.

But Aziraphale also still needs to answer Crowley's underlying question of what's he's wanting that's got him all hot and he keeps the euphemistic, hidden sex chat going by telling Crowley what he's picturing from Paris exactly that he wants later on:

"We had crepes."

Did Crowley and Aziraphale go to lunch-the-midday-meal in Paris after Crowley rescued Aziraphale from The Bastille and have crepes-the-food for lunch? They absolutely did. Lunch-the-midday-meal (or, really, *any* food/meal that is probably not breakfast, which they seem to had yet to sort out by S2 because of Crowley not staying the night) is part of lunch. But we know that this conversation in this scene in 2008 is not really about lunch-the-meal so crepes is our next bit of Ineffable Husbands vocabulary. We can tell at this point that this is a sexual euphemism. That The Guardian of the Eastern Gate and The Serpent of Eden use types of food as euphemisms for types of sex because of course they do lol...

Does the show get into what, exactly, "crepes" are in Ineffable Husbands Speak? Oh yeah. They do lol. But it's mostly on the other side of kinky lunch so we're going to come back to it...

Off of Aziraphale's crepes declaration, they get into The Bentley and peel off and the next time we see them, we're at...

The Ritz-Carlton, London. One of the finest restaurants in the world; known for their famed afternoon tea and world-class service. The origins of the word 'ritzy.' Where Crowley and Aziraphale have lunch in 2008, for what we will learn in the subsequent scene between them is the first time. We won't know that this restaurant is The Ritz until the S1 finale, when they return there after specifying that it's where they are going. We won't begin to understand fully what it means to them in their language to do so until then. The first hint happens around midway through S1 in the 1967 scene, when it becomes apparent that they are speaking to one another in a coded way-- even while alone, as they are just used to their own language by this point-- and that Aziraphale's "dine at The Ritz" aspiration was something tied to the idea of them taking some more steps towards being more openly and fully together.

In 2008, Crowley and Aziraphale decided to go to The Ritz while in The Bentley after the "let's have lunch" scene, in a scene we aren't shown, likely because the decision to do so would include directly referencing their relationship in a way the show has avoided doing so far but, as the 2.06 kiss showed us, won't be doing forever. (We also are never shown them past a certain point at night-- the show choosing to leave them in 2008 after the "godfathers" conversation in the bookshop and again in 2019 after we last see them holding hands during the ride back to Crowley's flat in London from Tadfield. This seems likely to change in S3, especially because there is almost certainly a The Blitz, Part 3 and we last left them late at night drinking wine alone in the bookshop making eyes at one another.)

Right, so, back to The Ritz in 2008 and the kinky lunch part of lunch...

Foreplay. Activities between partners-- physical, psychological, emotional, or all of the above-- that are designed to stimulate sexual arousal, in order to put the mind and the body in the mood for sex.

Kinky lunch is a form of foreplay, as Aziraphale is into the pleasure of being watched by Crowley as he enjoys the pleasure of his food and Crowley is into watching Aziraphale enjoy himself. This is also where the anticipatory kink starts to make even more sense as if they've already decided a bit of what they're going to get up to in bed later on, then they know what each other is thinking about all afternoon-- but especially during kinky lunch.

First date. There's also something of a romantic element to this, which a partner scene in S2 provided, which is that kinky lunch is essentially repeating what first happened thousands of years earlier in Job's cellar in 2500 B.C.. That night was, more or less, Crowley and Aziraphale's first date. Not all the sex they have is tied to lunching but part of lunching is, essentially, weaving their first date into these little sexy dates they're going on throughout different periods in history. Pretty romantic stuff for these two who also literally cannot say the word 'couple' but are basically married.

Biblical "fruits of knowledge." In Good Omens, what happened in The Garden of Eden is canonically known and it's that our Serpent of Eden Crowley tempted Eve into eating an apple from The Tree of Knowledge, which she then shared with Adam. The two of them then followed up the pleasure of eating with exploration into other sensual pleasures, discovered sex, and Eve-- whose biology really is something-- was basically eight months pregnant about two days later when Aziraphale snuck them out of Eden, jumpstarting humanity. Humans, though, have had ongoing debate over Genesis in The Bible as to what, exactly, the "fruits of knowledge" were that Adam and Eve consumed.

One argument is over what kind of food it was that Eve actually ate. In Good Omens, it is the most commonly thought food-- an apple-- but arguments have been made for everything from grapes to different berries to figs to even wheat. While Crowley does eat and different things than this, most of what we've been shown that he's consumed is humorous because it's almost all things related to speculated foods of the Biblical fruits of knowledge (wine-- grapes/berries; whisky-- wheat; an apple-looking tea in the S1 finale at The Ritz, etc..)

The other argument that is made is whether "ate fruit from The Tree of Knowledge" is actually just a metaphor for having sex. In Good Omens, the answer to this question is the opening of its story and it's not an either/or. It's both, with one leading to the other. Crowley and Aziraphale are more than aware of this and of the parallels with Adam and Eve to their own relationship and, like with everything else, they're very dryly funny about it. The two who are responsible for all sensual and sexual pleasure for all of humanity since the literal beginning of time have kinky lunch and a language full of food euphemisms for sex and flirty innuendo mixing the pleasures of eating with the pleasures of sex ("constitution of an ox!") because they're witty and playful like that.

Scrumptious. How Aziraphale describes his dessert at The Ritz. Means both "delicious" and "attractive/sexy enough to eat." Is basically the foremost adjective that describes human, physical beauty in terms of taste. It's kinky lunch-- a mix of the the sensual pleasures of eating food with sexual desire-- in a word.

Scrummy. Shortened version of 'scrumptious.' How Aziraphale describes the grapes he buys at The Globe Theatre in 1601, which he then spends the scene eating in front of Crowley, who flits around him like the horny little murder hornet he is, trying to flirt his way into Aziraphale's bed. 192 years before The Bastille.

Affirmative consent. Verbalized, informed and positive consent to participate in a sexual act. Needs to be direct and clear-- the more explicit and enthusiastic, the better. Good sexual practice is checking in with your partner before and periodically during to ensure that you're both still on the same page and having a positive experience. True of every relationship-- but especially true if one or more partners has had their autonomy violated in any way in the past, as Crowley has (and as Crowley had again the night before in 2008, when attacked by Satan in The Bentley, which was one of his many motivations for wanting to lunch with Aziraphale the next day.)

A cleverly-worded partner check in need not break the mood but is still equally important to do, even if everything seems to be fine. A sense of safety brings about trust and trust is sexy, after all.

"So, what are you in the mood for now?" Aziraphale's pitch-perfect partner check-in after he finishes dessert at The Ritz. He knows Crowley well enough to know that he's alright so this is flirtier than it might have otherwise been had Crowley not been. Still, it's presenting an opportunity to stop and giving Crowley the same sense of control and choice that he gave Aziraphale at the start of their lunch date. It's all done with a practiced ease and a subtle, sexy confidence that highlights that Aziraphale is very good at this and probably undid Crowley even more than watching Aziraphale eat lunch did.

Alcohol. Fermented fruit, wheat/grains or the like. Consumption of alcohol can lower inhibitions and the ability to be fully in control of yourself. To drink with someone then is to let them experience your most vulnerable self and to trust them to keep you safe and unharmed while you're not in a state of full control. It's intimate. It's sex, in food/beverage euphemistic terms, and we already know that Crowley and Aziraphale have a whole food-related sexual vocabulary... which Crowley jokes about in this scene.

When Aziraphale asks Crowley what he's in the mood for now that they've finished their dessert course, the point of the initial shot of the scene comes into focus-- the way the camera swoops a little over the surface of the table before settling back to show us Crowley and Aziraphale. The swooping shot illuminates what's on the table. It shows us that they've already eaten lunch, as Aziraphale is on the last forkful of his dessert. The key bits, though, are the beverages-- the coffee and the wine glasses.

Aziraphale has a larger, cappuccino-sized mug of some form of coffee drink while Crowley's dessert was a dessert coffee, based on the size and shape of the mug he's drinking it from. This is also where it's fun to point out that Mr. Six Shots of Espresso in a Big Cup has drunk half of what would be less than two shots of coffee, in a normal-for-the-drink-sized cup, and that the coffee is light in color, suggesting that it's cut with cream. But while the coffee and its symbolic freedom tied to S2 is fun to look at, the point here is that Crowley's coffee looks to be a dessert coffee, most of which frequently contain alcohol and, even more prominent in the shot, are two, empty wine glasses-- one in front of each of them-- that each have a little hint of red wine stuck in the spot above the stem in each glass, confirming that they both had at least one glass of a red wine with lunch.

The point is that they had wine with lunch and Crowley's likely been sipping an alcoholic coffee with dessert, and they're literally surrounded by bottles of wine behind them, as they're in a restaurant lol-- they're at The Ritz, which is known for their service and isn't exactly rushing them out. They could sit there for hours drinking more alcohol, should they want to... so, when Aziraphale asks Crowley what he's in the mood for now and Crowley-- who has spent this scene looking like he's considering freezing time and throwing Aziraphale over the table-- picks up the spoon from his likely Irish coffee and uses it to ding his wine glass-- that is empty of the alcohol he already drank out of it--to get the check lololol and says he wants "alcohol-- quite extraordinary amounts of alcohol", well...

Alcohol (in Ineffable Husbands Speak). Literal, surface level: Alcohol. Hidden language level: Sex.

"Alcohol. Quite extraordinary amounts of alcohol." "Sex. Quite extraordinary amounts of sex." Enthusiastic, affirmative consent from Crowley over here. He loves kinky lunch and he's glad you asked, Aziraphale, but he's very, very okay at the moment and wants to go to the bookshop now for more alcohol and, later, for quite extraordinary amounts of alcohol.

"An extremely alcoholic breakfast at The Ritz." A complete sentence in Ineffable Husbands Speak in S2 that Muriel doesn't understand but that we can by this point. Muriel not being able to speak Ineffable Husbands is the point of the moment-- it's to highlight that Muriel is missing information because they don't have the information needed to decode what Crowley is saying or to even realize that there is something to be decoded. It's to point out to us that we have this information and that's why we can understand what Crowley is saying. It, along with "no nightingales", is a moment designed to point out the language and how we can't interpret what we're seeing without being able to understand it. The context of the "us time" scene in S2 helps to reinforce that we have this language correct then also makes it an additional partner scene to the 2008 minisode, as it reinforces this interpretation of the language and the relationship between Crowley and Aziraphale that suggests.

Why does Muriel need to leave the bookshop in 2.06 if Crowley and Aziraphale are going for breakfast at The Ritz? We know it's because breakfast is the latest step they want to take when it comes to dining at The Ritz and alcohol is also sex so the Inspector Constable needs to leave because Crowley is out to have some lunch for breakfast.

Right, so, after kinky lunch at The Ritz back in 2008, we then catch up to Crowley and Aziraphale as they are walking up Whickber Street towards the bookshop.

Romantic stroll. They seem to like to go for a little walk together as part of lunch, if they can swing it. In 2008, they're caring a little less because they've just dined at The Ritz for the first time and they have 11 years left until the end of the world, so they're taking some moderate more risks. This might not be always typical of lunch but it is in 2008. They did this on their first date in the Land of Uz, sneaking out of the cellar to take a walk under the cover of night after the storm stopped. They also take a little stroll from the park to The Ritz in 2019 at the end of S1. All three of these times are possible exceptions-- it was night in 2500 B.C. on their first date and 2008 and 2019 are examples of not just lunching but dining at The Ritz, in the sense that they are in an era of being a little less guarded, if still cautious enough to maintain a sense of secrecy. There is a practical reason for the walk, though, as well as well as a romantic one, and that's related to:

The Bentley. Parked nowhere near the bookshop. On a side street somewhere, like we see Crowley has been doing ahead of S2 and is doing during S2 (including the night before the season began.) Crowley staying in the bookshop late into the evening is a given since they're lunching and have already planned to have some alcohol after their alcohol. The Bentley cannot be parked for hours in the evening in front of the bookshop without them running the risk of being caught so, even if they are coming back to the bookshop during the daylight of the mid-afternoon, The Bentley is already parked away from the shop because lunching comes with an understanding that Crowley will be staying in the shop well into the night.

This all seems routine for them at this point. As speculated in another post, this is probably how Crowley became friends with Mrs. Sandwich, whose work has her outside a bit in the early morning hours just outside the side door to the bookshop. Either way, the car is away from the bookshop so Crowley can stay most of the night with Aziraphale.

1921. The year in which Aziraphale bought a dozen cases (144 bottles) of Chateauneuf-de-Pape "for special occasions", as he either tells or reminds Crowley on their walk up Whickber Street. Twenty years before The Blitz.

This is an interesting comment for this exact moment here because one of the two pretty large gaps of time in the last few hundred years in their history is 1862-1941, right? We don't know much about what transpired between their whole breakup mess in St. James Park in 1862 and The Blitz. One of the flashbacks that was cut from S2 might have illuminated some of this, as it was the one set during The Gold Rush in America, which means it would have had to have taken place before about 1893. We know about Aziraphale learning to gavotte in The Hundred Guineas Club in Portland Place in the 1880s, we know that Maggie's great-grandmother started The Small Back Room with Aziraphale's help in the 1920s and we know that Crowley bought The Bentley sometime around 1933. In the midst of all of that, though, there's this one reference to 1921 here in the 2008 minisode that is pretty interesting when you consider why Aziraphale might be bringing it up in this moment.

Aziraphale is saying that he made an investment in the idea of them having a future of special occasions to celebrate together-- in whatever way they could manage to do so-- in 1921, which is a year in which, as far as we can tell so far, he might not have had a lot of hope that this would be possible. They do seem relatively incapable of breaking up for very long but it's also evident that they don't really fully start to get beyond 1862 until 1941 from what we've seen so far so it might have been a bit slow to heal. We do know that they were in contact and not just from the deleted America flashback but from the canonical reveal that Aziraphale got his driver's licence in the early 1930s, after Crowley bought The Bentley. But Aziraphale might be trying to say to Crowley that things didn't seem especially hopeful for them in the early 1920s, either, but Aziraphale has always held out hope.

1941. A special occasion, as that is Chateauneuf-de-Pape that they are drinking in The Blitz, Part 2.

2008. Year in which this minisode about lunching is taking place, when Aziraphale says that there "are a few bottles left" of the Chateauneuf-de-Pape he bought 87 years earlier, implying that they've drunk their way through almost 144 bottles worth of *just* "special occasion" wine *alone* in the last just under 90 years.

"For special occasions." Would be a truly insane way to refer to learning that the world was ending so safe to assume that Aziraphale is wanting to bust out the Chateauneuf-de-Pape in 2008 because what we see in 1.01 is the first time they dined at The Ritz. It was maybe not the most ideal way they'd ever wanted to as it was largely reactionary to learning they were almost out of time but they did it so time for the Chateauneuf-de-Pape.

Chateauneuf-de-Pape. Wine with quite the holy history. Translated from French, means "The Pope's New Castle". The Catholic papacy in early 1300s were big fans of the Burgundy wines in the area, spearheaded their popularity, and used the church to help spur the economic growth of the Avignon viticulture in that area. They drank the wine exclusively themselves and the papacy had been relocated to Avignon so, to an extent, Chateauneuf-de-Pape is something of a "holy water", symbolically. Maybe the antithesis of it-- holy water (water blessed through the power of Heaven) can kill Crowley, Chateauneuf-de-Pape (wine made by humans; symbolic of sex and love and a lifetime of special occasions with Aziraphale) is the stuff worth living for.

Wine is alcohol is, therefore, in Ineffable Husbands Speak, sex.

"Not very big on wine in Heaven, are they?" What Crowley says on their walk to the bookshop, in response to Aziraphale's suggestion that they break out the Chateauneuf-de-Pape.

A very funny line made even funnier by this partner scene in S2:

Well, you'd better pop off and get it then, haven't you, Aziraphale? lol

What, exactly, was going on between these two Influencer Brats of Job and their usual angels-- do we even want to ask? Probably not. The way Keziah says "they haven't brought the wine" with that little emphasis makes it feel like it's possible that their usual angels bring some Heaven-blessed wine as a pretense but that 'bringing the wine' is sexually euphemistic. Ennon hitting on Aziraphale adds to that sense by giving us the feeling that Job being God's favorite human means that, prior to the bet, Heaven was sending angels to see to the needs of the family and the elder two siblings have a pair of usual angels who service their, uh, beverage needs. All of which is, objectively-speaking, against what Heaven says it disapproves of (sex, alcohol/drunkenness, etc.), emphasizing the hypocrisy of the fascist state of Heaven.

The Job minisode then serves to reiterate the wine/alcohol = sex throughout the series and makes even funnier the fact that Crowley then drank the rest of the house's existing wine in revenge for these older kids being such brats and Ennon treating Aziraphale like a whore.

What it shows, though, is that maybe the only consumable beverage that Heaven *is* very big on-- if not on drunkenness-- is wine, like many big religions on Earth, right? As a result, Crowley's "not very big on wine in Heaven" line is then emphasized to really be "not very big on sex in Heaven, are they?"

Ok, back to 2008...

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes... Or single-malt scotch... Or frou frou cocktails with little umbrellas..." Crowley's full response to Aziraphale's Chateauneuf-de-Pape discussion on their walk. Translated from the Ineffable Husbands Speak below.

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes..." Not very big on sex in Heaven, are they? Forget music and food and books and our life here with our human things and our special occasions and spending time together, you are going to spend an eternity trapped in a open-floor-plan office building in the clouds with a bunch of prudish religious zealots. Forever and ever and ever... We have, potentially, eleven years until we'll never make love again. You *love* sex and if we don't stop Armageddon somehow, you're never going to come again...

"...Or single malt scotch..." Scotch is whiskey made in Scotland. Talisker, Crowley's favorite whiskey and recurring drink order, is a single malt scotch. So, this is: Not very big on *me*, either. Not exactly like I can just ride the elevator up for a visit... if I even survive Armageddon. You might have noticed Heaven is not tagging everything on their Tumblr #bildaddy. In case it wasn't obvious that this entire time, I've been listing other things you like about life on Earth while under the surface basically screaming "WE WON'T BE ABLE TO BE TOGETHER, ANGEL..."

"...Or frou frou cocktails with little umbrellas..."

Frou frou. American slang for "fancy", sometimes overly so. The American English sister word/answer word to "ritzy". Spoken by Crowley after they've just left The Ritz and as they walk past what will be the American-themed Give Me Coffee or Give Me Death in S2. Comes from America's longest allies--the French-- where it means the rustling sound made by skirts as they move and is onomatopoeia (words derived from the sound they make, rather than rooted in a language.) To reference Scotland, the United States and France within two sentences while bashing Heaven is very Crowley, who doesn't see Heaven as The British Empire or anything lol.

Cocktails. Mixed drinks. What you get when you combine alcohols. Also ties to the scene in S2 with Mr. Brown of Brown's World of Carpets in The Dirty Donkey, which is now a partner scene to this as well. Crowley's "a sherry for you, a whisky for me." It's another example of alcohol as symbolic of sex as Crowley bringing Aziraphale his preferred drink is their attempt at getting Mr. Brown to get the hint that they are a thing and they like now to keep the alcohol just to the two of them.

A cocktail, though, being a mixed drink, can refer in the context of discussion of Heaven and their relationship to the fact that they are an angel and a demon and Heaven is not very big on that particular cocktail.

Frou frou cocktails with little...

Umbrellas. Canopies.

Canopies. The essential setting component of Crowley's Vavoom in S2, as we heard him talking about (while having a drink) with Aziraphale in S2: "You mean like a sudden rainstorm forces them together beneath a canopy... and they look into each other's eyes and realize they were made for each other."

Vavoom. Alternatively: va-va-voom. Voluptuously sexy. Of or portending to sensual pleasure. How Crowley described his hypothetical-for-Maggie-and-Nina erotic-gazing-into-a-passionate-kiss-while-sheltering-from-rain-together-under-a-canopy thing that is absolutely not Crowley and Aziraphale's first kiss recounted back to Aziraphale by Crowley as his definition of romance. Not at all. Crowley just has a thing about tree canopies and their modern rain-sheltering cousins, umbrellas, ok? We didn't just spot The Vavoom hidden there in 1.01 a bit, too. Absolutely not. ;)

"Or frou frou cocktails with little umbrellas" (in Ineffable Husbands Speak). Heaven is definitely not very big on opulent mixed angel-demon drinks like us and our little romance... We're never going to kiss again, angel. Do you really want to spend *eternity* without ever kissing one another again?

According to S2, the answer to that question is that Aziraphale cannot handle the thought to a point of having a complete breakdown of 'what if you were an angel again so we never had to worry?' desperation, so this is probably why Aziraphale's downward hands of 'argh, not right now-- I can't handle this' show up at this point in 2008, as they finish crossing the street and arrive at the entrance to the bookshop.

This is when Aziraphale starts in on his whole "I'm an angel; you're a demon" stuff again but the tone of it is pretty soft and he adds this bit into it:

"We're hereditary enemies." Something which is hereditary is something which you've inherited through no fault of your own and without your agreement. Often, something foisted upon you that you would not have chosen. Aziraphale's comparing their situation to things like hereditary disease-- they didn't ask for it. It's not their fault. The reality of it, though, is still present. This is a way of reassuring Crowley that, even though Crowley could see through the Yay, Heaven! from the earlier St. James Park scene, that Aziraphale doesn't see him as the enemy and would never have chosen this whole mess. He's not yet agreeing to help Crowley stop Armageddon-- the odds are good that he never was going to while they were outside of the bookshop anyway and Crowley knows that. Everything Crowley has said so far is preamble to his argument for stopping Armageddon later on, when they're inside, sobered up, and Aziraphale is ready to work on a potential plan with him.

After "hereditary enemies"...

"Get thee behind me, foul fiend." Blasphemous Bible-speak delivered flirtatiously as a sexual invitation. Not the only scene in the series with blasphemous innuendo but this one line alone could be its own meta so, in an effort to keep this at under 4 billion words lol, we're just going to look at how this is relevant to lunching.

Foul fiend is just Biblical speak for wicked demon. "Wicked" and "demon" are words in the same vein as "wily", "thwart" and "smitten"--words with dual layers of contradictory meanings that Crowley and Aziraphale love to use in their language. To be "wicked" is to be evil in the sense of in line with Satan, yes, but it's also to be playfully mischievous and is a positive adjective used in place of "excellent" at times. To be a "demon" is to be a familiar of the Devil, yes, but it's also to be extremely skillful and talented at a particular thing.

Aziraphale does the whole "I'm an angel. You're a demon. We're hereditary enemies" thing but then turns around and uses "foul fiend"/"wicked demon" in the non-satanic definitions of it through his fond and suggestive tone. He's not calling Crowley evil-- he's calling Crowley playfully mischievous. He's calling him trouble in a light and fun way. He's not calling him a demon in a derogatory sense but in the skillful sense. The same words that mean "evil ally of Satan" also mean "playful and talented"-- Aziraphale has added context by situation and tone of voice/delivery to essentially turn "foul fiend" into calling Crowley "a demon" in bed, in the "skillful" sense of the word. It becomes fuck me, my very wicked demon by use of a suggestive tone.

But it's the use of "get thee behind me" that is most relevant to 2008 here because remember when I told you we'd come back to crepes?

Crepes. Thin, French pancakes. Can be had almost anytime of the day because they are quite versatile-- savory, sweet, for lunch, for dessert, you name it lol. As sexual euphemism, though, we are really looking at how 'pancakes' have been used traditionally by people using food as euphemisms for sex and that is, unsurprisingly, in relation to how a pancake is cooked. I think we've all probably made actual-pancakes-the-food before or at least have seen it done so it probably will not come as a surprise to you that you have to turn a pancake over to griddle it on both sides for it to be done.

As a result, any sexual euphemism involving pancakes is referring to sex that involves a switch from an initial position to a second position that is literally just the receptive partner turning over. So, in order to fully get Aziraphale's love of his romantic French pancakes here, we'd have to have the starting position of crepes and that is something the show actually gives us because why not at this point lol.

"Get thee behind me" after they've spent the afternoon setting up this 1793-inspired crepe-a-palooza indicates that the starting position of crepes is Aziraphale getting done from behind but he'll turn over because he likes to finish his French pancakes facing Crowley.

Vavavoom Yellow. The color of Crowley's eyes and the actual name of the actual paint the actual people involved with this show painted the actual walls of the bookshop. The color Aziraphale turned The Bentley after making it take off its black and silver sunglasses. Crowley's only out here trying to seduce Aziraphale in every other scene by looking at him over his glasses or taking them off or going on about their tantric eye sex into their first kiss... Seems possible Aziraphale might have a thing for Crowley's eyes, no?

"After you." Aziraphale wants crepes for dessert, though. After "get thee behind me, foul fiend", he gestures Crowley into the bookshop with a very witty "after you", which is both politely letting him go first into the bookshop and insisting he is in bed later as well.

Inviting Crowley inside the bookshop with the "after you" in tandem with inviting him inside with the "get thee behind me" is also then using the fact that Crowley is allowed into the bookshop as sexual metaphor for being allowed inside, well, Aziraphale. This gives it a partner scene in S2, when Aziraphale turns The Bentley into a sexual metaphor and is going for the innuendo gold when he then again uses the bookshop to euphemistically refer to himself with "... just as that bookshop is, technically, my shop... but we both get *plenty* of use out of it, don't we?"

God. The only other character on Good Omens aside from Crowley and Aziraphale themselves who speaks Ineffable Husbands Speak. Character responsible for teaching us one of its most important code words-- "nightingales"-- and who ships it so hard that She had a literal nightingale singing as a joke on their dual-meaning-happy language in the S1 finale. Our narrator in S1.

"...while, in London SoHo, an angel and a demon had been drinking solidly for the last six of them." As we cut away from Crowley & Aziraphale's scenes in 2008 to see The Youngs leave the satanic nunnery with their new baby, God points out-- with a hilarious 'oh my stupid children, scared of a baby' tone-- that "The Antichrist had been on Earth for 24 hours." If we can assume that The Youngs were not sent home from the hospital with a new baby in the middle of the night and that it's closer to the more civilized option of a dinner hour, then that would also go with the fact that Aziraphale was having dinner during all of this the night prior, right? Which means it's dinner time, if we're at 24 hours later. Which means that if, in London SoHo, an angel and a demon have been "drinking solidly" for the last six hours, then God is counting the entire afternoon since Crowley and Aziraphale met up for lunch as "drinking solidly" and that's because "drinking" in Ineffable Husbands Speak isn't just alcohol but sex. Yes, that's God making a sex joke. (She has a few more in S1, too.)

"Baby." Term of endearment for a romantic and/or sexual partner that has been documented as having been in existence since at least around the 1830s but was mainstreamed by American jazz, soul and rock 'n roll music and cinema.

While Crowley and Aziraphale are in the alcohol stage of their alcohol, they get plastered on Chateauneuf-de-Pape and Crowley, in a drunken ramble that we will realize by S2 is inspired by Aziraphale's magic words and their conversation in 1941, is going on about what is going to happen to the creatures of Earth when the world ends. He begins to try to say that the fish will be "turned into bouillabaisse" but that word is too difficult for him to say while drunk. While attempting to, he gets distracted gazing at Aziraphale and calls him "baby" in a low voice and then we get their hilarious very drunk kissy faces. Crowley manages to translate "bouillabaisse" in his mind enough to "fish stew-- anyway!" and they sober up soon afterwards to have an actually semi-coherent conversation and some actual alcohol.

In the context of lunching, this becomes getting drunk and distracted by thoughts of later in the middle of trying to talk-- and we know now thanks to S2 that Crowley is also distracted by thoughts of 1941 here at the same time, as he's going on about bananas, fish, and gorillas. We've never heard him call Aziraphale anything but his name or "angel" with the exception of this scene, when they're alone in the bookshop with alcohol on the brain. Aziraphale is drunk but he also doesn't react like it's unusual-- if he heard it, to be honest, as he seemed a bit devoted to stringing together his thoughts related to The Kraken... that great, bigggg bugger, as Aziraphale described him, not at all thinking about the quite extraordinary amounts of buggery they were going to get up to later on.

But, anyway, there's the scene where Crowley calls Aziraphale "baby" in 2008 and that might suggest that he does if they're alone and there's no risk of anyone overhearing it. (As "angel", at least, is theoretically meant to be calling Aziraphale by what he is in a semi-derogatory way but Crowley's honestly never made that work a day in his life lol.)

Thwarting. See: separate meta on my blog on "wily", "thwart" and "smitten" as examples of words with contradictory, dual meanings that Crowley and Aziraphale like to use in the 'angel-and-demon' sense on the surface but in their 'sexy/romantic' connotations in their hidden language. While talking about a plan to stop Armageddon, Crowley uses "wiles"-- the enticing and feminine-leaning-in-connotation definition of "wily"-- in a dry joke where the surface level is about how it's the role of an angel to stop the Evil One (his demon counterpart) at every turn but is really using "wiles" in its seductive definition. He also uses "thwarting" in a way that is substituting it in a sentence for "fucking" on the hidden language level: "You can't be certain that thwarting me isn't part of The Divine Plan, too."

Indeed, Crowley. Indeed.

"...at every turn." Ha. Crowley has crepes jokes. Think of all the French pancakes we can have for eternity if we thwart Armageddon, angel...

Godfathers. The 2008 minisode scenes end with them deciding to have a baby. Crowley's like I have a plan to stop the end of the world and it's that we crash this mansion and live together raising a kid like a little family and I've thought of a way you can sell it to Heaven-- whaddya say? And Aziraphale melts into a puddle of sparkly-eyed joy and they have some quippy lines about being damned that feel like foreshadowing for Aziraphale something fierce but this is where we leave 2008. Right here.

After alcohol, but before alcohol, ya dig?

Lunch (in Ineffable Husbands Speak). A recurring date of kinky lunch and spending time together that is pre-determined to end hours later with sex that is at least somewhat decided upon at the start of lunch, often euphemistically through discussion of " lunch food" and/or their romantic encounters in their shared past.

Off of this, let's go look at our partner scene of The Bastille again, now using 2008 to illuminate parts of it.

Paris, 1793. Crowley and Aziraphale playing 'damsel in distress and dashing hero rescuer' in The Bastille. Seven years before Aziraphale opens the bookshop; thirty years before Crowley's dragged to Hell in Edinburgh. They've been getting away with this forever at this point, to a point that while they're still overall cautious and terrified of getting caught, they're starting to think it's possible they never will because they've managed to keep it a secret this long. Aziraphale is dry and arch when referencing the recent "strongly-worded note" he apparently received from Gabriel about doing "frivolous miracles". Even though the note might not exist as this whole scene is, basically, a roleplay game, the attitude there is that they're getting one over on Heaven & Hell and are taking advantage of it.

We all know things like Aziraphale lighting up when Crowley shows up and the "oh, good Lord" while raking his eyes over him-- we're just going to look at some bits here that have more significance in Ineffable Husbands Speak.

As a side note here: the buttons on the black part of Crowley's outfit in Paris also are very similar in style to the jacket he's wearing in the Let's Have Lunch scene in 2008, in a fun bit of visual paralleling between the partner scenes via the costuming. This scene is also a great one for the consistent thing in the series where Aziraphale will casually reference God and Satan ("oh, good Lord"/"luck of the devil" in the Tadfield Manor scene) but Crowley will not ("what the deuce are you doing locked up in The Bastille?").

So, Crowley does his whole haughty and faux-put-upon thing upon arriving and S2 actually makes how he arrives even funnier because he spends the first half of the scene lounging on the floor across the room, which has real Job's cellar vibes. Later in the scene, we get the "well, you're lucky I was in the area" and Aziraphale's reply of "I was", both lines of which are arch as all fuck. They ring with a kind of knowing playfulness that honestly signals the whole thing is not exactly an organic situation. Crowley has come to Aziraphale's rescue out of nowhere before and odds are solid that led to Aziraphale's whole rescue kink awakening here lol but this scene in 1793 is not that. Crowley was absolutely "in the area" with his calendar cleared for whatever sexual hijinks the angel wanted to get up to that afternoon. He's committed to the bit and asks near the start: "what the deuce are you doing locked up in The Bastille?", prompting Aziraphale's response of "I got peckish."

"Peckish", meaning "slightly hungry", but you don't wade through a revolution because you could use a snack so Aziraphale's downplaying it for humor-- he's fucking starving. And not really for food. They have food in England. Aziraphale has intentionally got himself locked up in The Bastille because he's horny, which he's expressing using food terms because of course he is. Ineffable Husbands Speak was created by this dry-humored and self-deprecating duo, one of whom is the Serpent of Eden and the other of whom is a bit of a raging gourmand and, together, they've never met anything consumable that they can't make into sexual innuendo.

To learning that Aziraphale on the surface needed a snack and, in Ineffable Husbands Speak, needs a snack, Crowley has this hilarious response:

Go on, Crowley, keep pretending like you're offended that this is all just because Aziraphale is horny and like you think it's not specific to you, like you wouldn't let him nibble on you whenever he wants lol.

Tell him he's special, Aziraphale, and not just one of your favorite toys. You dragged him to a prison cell feet away from a guillotine for this.

"Well, if you must know, it was the crepes. And the brioche. Can't get decent ones anywhere outside of Paris." is Aziraphale's quite illuminating reply.

Paris is France and anything Parisian or French is coded as romantic and as related to love to them, even if we know how much they speak around those words. We know what crepes are now from the 2008 scene and we'll look at brioche in a moment but we can already see that this sentence, translated from Ineffable Husbands Speak, is Aziraphale saying that he can fuck his way around the world (and we know it's suggested that he has at times) but he feels that it's never as good for him as it is with Crowley because the crepes and the brioche are better when they're had in Paris-- because sex with Crowley is better for Aziraphale than with anyone else because of how they feel about each other.

Probably also worth mentioning that crepes and brioche both originated in France (many societies around the world have versions of crepes but the crepe itself is French) so this is also really saying it's just always been Crowley for Aziraphale since the start and Aziraphale was alluding to that to Crowley in the Paris, 1793 scene.

Brioche. A bit of a bread, a bit of a cake, it is a bit sweet and rich like a pastry and falls mostly somewhere there on the French deliciousness spectrum between the two and treated by chefs and bakers as a bit of both. As a result, can wind up in many different meals throughout the day, in different ways. Brioche = Crowley, in food form. Can be used to make sandwiches (ha) but is most well-known as the signature bread used to make French toast. French toast is traditionally made the same way as crepes-- involving turning, like pancakes.

Brioche (in Ineffable Husbands Speak). Both Crowley himself, in food form (bread is necessary for sandwiches, after all) and crepes-as-sex reversed between them with Crowley as the receptive partner.

[Crowley is also suggested to be black bread, according to God's narration, in the St. James Park scene, leading me to believe that he's just every kind of bread Aziraphale likes, which is probably most of them.]

Aziraphale invites Crowley to lunch and we know now that lunching was already a thing for them then. True to form, the scene ends with their first step of lunch-- the anticipatory part-- with Crowley asking "what's for lunch?", which we now understand to mean the same thing as "I still owe you one from..." in 2008. He's asking Aziraphale what he would like for lunch and we know already from 2008 that they went out for crepes and had a whole French buffet.

Armageddon: Round One. 2019. Averted. Afterwards, they meet up in a park and swap bodies back unnoticed because we didn't have enough secret sexual relationship stuff already happening on this show lol so yay metaphor and now there's a full-circle back to the bench at St. James Park in 1.01 but now with them having survived and at least temporarily halted Armageddon. Then, as they start to adjust to the whirlwind being over, it's Crowley with:

"Time to leave The Garden." Crowley likening Aziraphale and himself to Adam and Eve-- and just prior to proposing that he and Aziraphale go get their Garden on with a little lunch. Shows that Crowley and Aziraphale are more than aware of how much they parallel the first humans and reinforces that all of the Eden references and related humor in their romantic relationship that we've seen is not coincidental but intentional.

To ask Aziraphale if you can "tempt him to a spot of lunchchch" while opening up your hip to spread your thighs and angle yourself to suggest that your body is also on the menu. Complete with the 'wanna go to bed?' head tilt of 1601 and 2008 fame. I mean...

Meanwhile, Aziraphale's barely conscious of the fact that he's rubbing his thighs and looking at Crowley's lips...

To reply "Temptation accomplished." with a cutely dorky little laugh to Crowley's invitation to lunch. To never be one to say no to a spot of lunch and accept the invitation, while joking around about how neither of you ever actually tempt each other, you just find each other tempting, in the 'attractive' sense of the word.

Anticipatory kink. The first part of lunch.

To say that a table at The Ritz has miraculously come free. To suggest that you have 2008/Eleven Years Ago for lunch, coming full circle back to 1.01 in the S1 finale. 2019 is 2008 is 1793 is...

Champagne tea/high tea. The meal that Crowley and Aziraphale are actually eating when they go to lunch in the S1 finale. Features champagne and macarons, both of which are French, adding to the romance and the ties to 1793. There also appears to be an apple-hued tea on the table, nodding to Eden.

PTSD. What causes Crowley to sometimes go quiet and zone out. In 2008, we came in on the end of their meal at The Ritz and Crowley was in the moment. In 2019, we see the start of their lunch part of lunch and Crowley is not at all present. He's facing ahead and staring into space at nothing, exhausted and not in the moment. Aziraphale's partner check-in is different this time, as he can tell that Crowley is not with him. He draws him back to the now with a bit of romance.

"...if you weren't, at heart, just a little bit of a good person." I love you, you know.

"And if you weren't just enough of a bastard worth to be worth knowing." I love you, too.

"A Nightingale Sang in Berkeley Square." Romantic 1940 song containing the lyric "angels were dining at The Ritz" that formed the basis for Aziraphale creating "dining at The Ritz" as a code phrase meaning a more acknowledged and somewhat more open relationship in the future... which they then celebrate agreeing to try by literally dining at The Ritz, in line with their dual layers of meaning-happy language. We're still awaiting the origins of the song as their song but it is to a point that one of them has the pianist playing an instrumental version of it during this afternoon tea lunch in 2019. We also get Tori Amos' cover playing over the scene because dual layers of everything.

Literal nightingale singing. God showing only us the bird that Crowley and Aziraphale don't know is actually singing is the show acknowledging that our perspective is, like God's, on the outside of the relationship but we are now able to understand it. To see the literal nightingale but know what it means both symbolically and in Ineffable Husbands Speak is to see that there are different levels of meaning beneath the surface of what we've been watching.

Nightingales (in Ineffable Husbands Speak). Romantic love. Specifically, Crowley and Aziraphale's word for their love for one another.

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #good omens meta #aziracrow #good omens s2 #crowley x aziraphale

[katiefrog217]

Crowley learned a lot about human civilizations today. Or, at least he thought he did. Truthfully, he was too busy watching Aziraphale's rapidly shifting expressions as he gleefully explained how a human had discovered some ruin of a civilization that had been lost to time. Crowley had zero recollection of this one, perhaps it has sprung up and fallen during one of his extended naps? Aziraphale, however, seemed intimately acquainted with them, if the stories he interspersed between his long, rambling explanations were any indication. Crowley really didn't give a shit about humans he had no involvement in, but he was content to not interrupt his angel (except the one time to make some sarcastic comment on their choice of architecture, which earned him a rueful glare).

I was working on an art piece for my fic From The Confidential Journals of A.Z Fell, but decided that it was going to take WAY too long to work out, so dragons it was haha.

Will post a short process video of this later!

The book Aziraphale is holding is an in-joke between me and my GF, involving a few personal OCs of ours.

Check out the Art Process HERE

#good omens #ineffable husbands #aziracrow #katiefrog217 #crowley #good omens fanart #aziraphale #my art #art #fanart #good omens 2 #go art #good omens art #good omens au #dragons #dragon au #good omens dragon au #good omens dragons #dragon crowley #dragon aziraphale #dragon omens #the ineffable husbands #crowly x aziraphale #aziraphale x crowley

[dotster001]

How they Get You under the Mistletoe, Part Two

Summary: Staff and Non NRC students x gn! Reader

A/N: IT IS 11:54 ON DECEMBER 25TH, SO I FINISHED THIS ON TIME LET'S FUCKING GO!

Part One

CW:It's in my pinned post, and I've mentioned this in a couple posts, but if this is the first of my stuff you've read, I view NRC as an actual college, so reader here is 18+. If it makes you more comfy, imagine it as grad school age. Also, use of alcohol in Crewel's part.

Dire Crowley

Rage Bait

The ghosts thought they were helping. They had decorated Ramshackle, and you were having a holiday party before your friends left for winter break. But they'd also put up mistletoe. And every time you tried to take it down, they'd float up and move it farther out of reach.

“Surely there's a special someone who'll be here tonight,” one of them said with a giggle.

“We just don't want you to regret not making a move, when you're our ages,” another one said with paternal softness.

You grumbled and stormed back over to the party, which was quickly getting out of hand. The later it got, more people showed up, and now there were more strangers than friends in your living space. And as though that wasn't bad enough-

“Prefect!”

You groaned when you heard the headmage’s voice. You turned around from the broken glass you were sweeping up, and sighed.

“What can I do for you, headmage?”

“I consider myself very generous, and can overlook a simple celebration, but this is out of hand.”

“Yah think?” You shouted, gesturing at the fight that had just broken out in the corner.

“How do you plan to shut it down?”

“I'm working on it!” You snapped, walking away with a dustpan full of glass, ready to sweep up the newest disaster.

“I have an idea,” he said, half a step behind you, not missing a single beat, despite the crowd doing its darndest to separate you.

“What is it?” You said, only half listening as you set down the dustpan.

He grabbed your arm, yanking you to the side.

“Kiss me,” he said with a wicked grin.

“What the fuck!”

He smirked even deeper, pointing up. And there was the mistletoe from earlier….but you could have sworn it was over there….

You made eye contact with one of the ghosts who winked at you.

“H-how is that gonna help?” You stuttered.

“Surely, your peers would find it unsettling to see the Headmage kissing his lover.”

“Lover?” You rolled your eyes. “You're not my lover-”

“But you'd like me to be,” his eyes twinkled.

“You don't even give me enough money to reward Grim when he actually passes a test.”

“Doesn't matter. I'm a handsome man. You can't say you're resistant to my charms.”

You pulled out of his grip and snapped.

“Oh please! If I was going to go for any of the staff, I'd go for Crewel!”

“Really?” His eyes narrowed. “Perhaps you're too scared to kiss me.”

“What!”

“You're worried that if you kiss me, you'll be forced to accept your feelings.”

“Shut up!”

“I'm a very generous lover-”

You slammed your lips against his, angrily. He kissed back with just as much force, his hands twining in your hair. The anger turned quickly to passion, and you were soon overwhelmed by the feelings inside you, shoving him away from you as you pressed your hands to your open mouth in shock.

He smirked, and you realized no one was in your dorm, except Ace, who was staring in complete disgust.

Divus Crewel

Double dog dare you

Vargas and Sam were both drinking with Crewel at the staff holiday party. It was meant to be a calm relaxed evening. But you'd shown up to interrogate the Headmage about something, and now Sam and Ashton were acting like fools.

“C'mon, man up!”

“We know you want to.”

“Gentlemen, please, let's be professional,” Divus grumbled as he threw back his glass.

“They aren't in your class anymore!”

“And my friends say that they are head over heels for you.”

“C'mon man up!”

“If you say man up one more time!” Divus scowled.

“If you don't, he will,” Sam snickered, pointing at Crowley, who did, indeed, seem to be trying to huddle you over to the mistletoe that someone had decided to put up for some reason. Though, the longer Crowley was shifting you, the clearer it became that this was a malicious plot.

“I dare you to swoop them up from under his wing, and give them a kiss they'll never forget,” Vargas said childishly.

Divus looked over at you, snatched Sam's drink, chugged it down, then stormed over to the both of you, buoyed on by the cheers of his friends.

“Scuse me Headmage,” he slurred, yanking you to him and kissing you sloppily.

…

…

…

When he woke up the next morning with a killer hangover, he would have thought it was all a dream. Until he saw you sleeping in a chair by his bed, holding a bucket full of vomit.

Mozus Trein

The Parent Trap

He'd invited you to the holiday party at his estate in the country. He thought it would be a low key way to introduce you to his daughters. If you got overwhelmed, you could blend into the crowd, or hide in his guest room upstairs, and no one would even notice you'd slipped away.

His daughters were a little too excited that he was dating again.

“Papa, you gotta!”

“It would be so romantic!”

The good news was, they liked you. Unfortunately (fortunately?) they might have been a little too excited.

��I'm not going to pull them away from the party, just to kiss them under a leaf,” he said with a glare.

“Don't worry, you don't have to pull them away!” Ania said with a smile, pulling out her magic pen. Unfortunately (fortunately?) Ania was incredibly gifted with flora magic. Materializing mistletoe above the two of you would be simple.

“I absolutely forbid it,” he hissed.

“Y/N! Over here please!” Darleen called to you. You politely excused yourself from the conversation you were having, and walked over to the group, eying his children nervously. Your gut instincts were definitely right.

“You don't have to-” Ania covered Trein’s mouth with her hand, giggling excitedly.

“What's going on?” You asked, eying him in concern.

“Just stand right there!” Darleen said, both daughters taking three steps back, before Ania quickly muttered a spell. You looked up and saw the mistletoe, your eyes widening. You looked over to his daughters, but they were already running away, hiding in the crowd.

You looked at Trein, feeling your cheeks warm as he stared at you with an empty expression on his face.

“We don't have to-”

He said, gently taking your hand in his, caressing the back with his thumb.

“I would be a fool not to accept this gift,” he said, sounding bitter, but there was light in his eyes. You smiled softly, and he leaned in and pressed a gentle kiss to your lips.

Ashton Vargas

Decoration Team

He'd somehow tricked you into decorating the employee lounge with him. You always thought he was more brawn than brains, but this wasn't the first time he'd tricked you into manual labor, so maybe you were the dumb one.

“Hah! Good work!” He slapped your back affectionately, and you stumbled into the table you were decorating, causing a couple of the tchotchkes you'd just placed to tumble forward. You frowned, and sighed, but he laughed again.

“Forget the table. I need you for something,” he snatched your wrist, dragging you to a corner of the room. Then, with absolutely no warning, he picked you up, and placed you on his shoulders. You gripped his head, absolutely terrified that you'd tumble.

“Don't worry. I got you. That's why I built up these muscles!” He momentarily let go of your left thigh to flex. This did not ease your panic.

He reached into his pocket and handed you something.

“Hang that on the ceiling right above ya! Let me know when you're finished.”

You stared at the mistletoe, and sighed. The sooner you put it up, the sooner he'd put you down.

“So, uh, is this a popular decoration for a staff party?” You asked, trying to ease your anxiety through conversation.

“Nah.”

“Nah? Done, by the way.”

He gently let you down from his shoulders, then turned you to face him.

“This won't get much use at the party. This decoration is for my….personal…enjoyment,” he purred as he took your chin in his hand.

Sam

*Gasp* you tripped!

Sam's shop always had weird things. But definitely the weirdest thing it had at the moment was the out of control mistletoe bush. A student had bought it, tried to cast a spell on it, then promptly returned it when he realized it was growing beyond his control. Normally, Sam had a strict no return policy. But he'd stared at it for moment, then agreed to the return.

It was the end of the night, and he was finally getting around to fixing it. He was simply staring at it, trying to puzzle out how to clean it up. You were staying far away. Partially because the monstrosity the mistletoe had become was horrifying beyond the realms of imagination, but also because….

You know…

Mistletoe.

Not that Sam wasn't unbelievably attractive. It just would be awkward if you both ended up near it. And Sam was a professional. He'd probably just laugh lightly and send you on your way. But still…it would be awkward.

Right?

“Sam,” you said, but he was so engrossed, he didn't hear you.

“Sam, I'm gonna clock out-” you had taken a step forward, but tripped over what felt like an outstretched leg, right into his arms.

“Ah! Are you alright, my little imp?” His voice sounded concerned, but the expression on his face didn't quite match.

“Y-yeah,” you said, trying to pretend you didn't notice just where you both were standing. He looked you up and down, rubbing your arms, as though looking for any injuries.

“You're certain?”

The mistletoe creature thing wrapped around the two of you, and you stiffened as you were pushed closer together. You tried to keep your mind off of the muscle you were feeling under his clothes.

“I know how to fix this. But should I?”

“Huh?” You gasped, mildly horrified about the implications.

“I can get out of this easily, but I could leave you as a sacrifice to the mistletoe.”

“What!”

He snickered. “Or we can make a deal.”

Uh oh. You've seen him do this to other people, but never to you….

“Sam, you write my paycheck. You know I don't have any money to give you.”

“I don't want money. But you do have something I want,” he leaned in so that your noses were pressing together. “I'd like your heart. Think that's a deal you can make?”

Neige le Blanche

Marketing Campaign

After the SDC, Neige had pushed to get his manager to take you on. And now you were a notable up and comer, doing projects with Neige.

This campaign was for a cologne. It was winter themed, with hints of cinnamon and cloves, and Neige was to be the figurehead of the campaign. But he'd been insistent that you be his partner in this ad. You hadn't tested the product, you hadn't received a script or any information, other than the fancy outfit you'd been given for the photo.

Your manager was quickly giving you the rundown as hair and makeup worked on you, and you were just kind of nodding along, until,

“Wait, say that again?”

“You're going to be kissing his neck while you stand under the mistletoe?” Your manager said.

You stiffened, earning a scolding from your makeup guy for wrinkling your forehead.

“I know it's a big jump for his image, but your face will be at an angle, so you might not be associated with the image cha-”

“Does Neige know about this?” You asked, your voice squeaking a little.

“Yes. Of course he knows,” you manager rolled her eyes, before continuing with the brief.

Your manager continued briefing you, but you felt light headed and couldn't focus on her words.

Now that you were on the photo set, you stood stiffly waiting for the photographer to pose you.

“Sorry, Y/N, I meant to tell you about the shift in my image, but I forgot.”

Would it be unprofessional to say that it wasn't the image shift that had you tense?

“Don't worry about it, Neige,” you tried to laugh it off, but quickly you were being positioned for the photo, Neige tilting his head back, fully exposing his neck, where it was implied that he had used the cologne from the campaign.

You were positioned with your lips pressed to his neck. You really doubted you even needed makeup for this shot, your face was barely visible, but whatever.

“I'm really sorry, Y/N,” he whispered, barely moving his lips as the camera whirred.

“Don't worry about it,” you whispered into his neck.

“Alright, slowly kiss up his neck, then you're gonna grab his hair and kiss him. Slowly. We want to do this in one take,” the photographer said. You felt your cheeks grow warm, and you made eye contact with Neige, whose cheeks were slightly pink.

“Sorry,” he breathed hoarsely.

“It's fine,” you whispered, following instructions, slowly, and kissing him, the taste of apples invading your mouth.

“Got it!” The photographer shouted, and you both separated quickly.

The photographer grinned at the photos on his camera, then raised that smile to you, giving you a wink.

“You were right, Neige, they were perfect for this one!”

You turned to Neige, your eyes wide, and you noticed he was heavily avoiding eye contact, his face bright red.

Rollo Flamme

Purity check

Can you tell from how I write him that I have religious trauma? 😂

Now that you'd been studying at NBC for a semester-long exchange program, you realized how close you'd grown to him. But still, sometimes you felt like you needed him to back off. You weren't a child, you could do what you wanted. Including-

“It's none of your business if I made out with someone!”

“There are rules to be followed on this campus. I don't know how they did things at NRC, but we have standards here.”

“Look! I didn't make out with anyone! And if I did, I don't need to tell you about it!”

You both glared at each other. He broke first.

“Come,” he said, grabbing your arm, and pulling you to the corner of the room where the mistletoe hung. He shot a glare at the couple that was using it, and they ran.

Come to think of it….this whole party was illegal. Why was he zeroing in on you? How was that fair?

“Kiss me,” he demanded.

“What!” You shouted, and his glare deepened.

“If you're worried about appearances, we are under the mistletoe, so it would be socially acceptable.”

“That's not-”

“Kiss me, and prove that you haven't been illegally kissing someone while at an illegal party,” he looked so fucking smug. Like he knew he'd won.

“How is that going to prove-”

“I'll taste someone on you. If you have nothing to hide, you have nothing to fear.”

“Everyone here is kissing people-”

“You're here to purify you from those mage’s poison-”

“You're insufferable!”

“Please just kiss him!” You'd forgotten the vice president was with him, too caught up in the anger you were filled with. “If you just do it, we can all go home! Please!”

You both glared at each other, then you sighed, and kissed him. When you pulled away, he pursed his lips, eying you up and down, his cheeks dusted in pink.

“Return to your dorm within the hour, and you won't receive detention.”

And then he waltzed out as though nothing happened.

Chenya

…I'm praying for your soul….

“Mwahahaha!”

You stiffened. You knew that laughter. He was here. You'd locked every door and window, just in case. You'd told him you were spending a quiet night in, when he'd stolen Ace's phone to text you. And you intended it to stay that way.

But that voice was nearby…

You grabbed a throw pillow from the sofa, preparing for the moment he would appear.

You felt something smack you in the face. You looked at the thing that hit you, that had fallen to your feet. You picked it up, rolling it around in your hands, before your eyes widened.

“Mwahahaha!”

“Wait…” you whispered, the implications of the mistletoe in your hands finally hitting.

The mistletoe was yanked from your hands, by an invisible monster. It reappeared above you, then a mouth was on yours. He tastes like stolen strawberries, and one too many desserts. The lips left yours, and you felt him disappear again. Then his tail appeared, wrapping around you, as you felt him set his chin on your shoulder, a purr making your heart rate calm.

“Mmm you're delicious. Glad I stole that little toy from Riddle,” he giggled.

“He doesn't know you're here, right?” You whispered.

“Hee hee,” he vanished with that giggle, as you heard.

“Y/N L/N! Relinquish the thief!”

....

Tag list- @shytastemakerthing @eccedentesiast-sapphic @leoll @stygianoir @lucifer5lucy

#twisted wonderland #twisted wonderland x reader #divus crewel x reader #dire crowley x reader #ashton vargas x reader #twst sam x reader #mozus trein x reader #rollo flamme x reader #neige leblanche x reader #chenya x reader

[yaksha-lover]

As Lovers Go

Malleus Draconia x Reader

Summary: It may not be as grand as royalty is used to, but you do your best to plan a special night for Malleus on his birthday.

something short i scrambled together for my best boy, happy birthday malleus 🫶🫶

“Admittedly, it took some help from Trey to convince Riddle, but I like to think I did most of the work,” you say, leading Malleus by hand into the garden. “Okay, you can open your eyes.”

He blinks a couple times, but adjusts quickly to the nighttime lighting, surveying the scene. You’re in the Heartslabyul gardens, surrounded by red rose bushes on all sides. You’ve stopped in a small, clear area of grass where you’ve prepared for the night, a checkered blue picnic blanket laid out.

“Surprise! I know it’s not exactly a party, but hopefully my company will be enough to satisfy you…”

“When you’ve had over a hundred birthdays, parties begin to become monotonous. I much prefer your quiet company, tonight.”

You smile at Malleus. Even when the night’s about him, he always finds a way to make you feel special. “I hope you like the spot I chose. I know it must be hard being away from Briar Valley and your grandmother during the school year, so I thought I’d try to bring a little bit of home to you with the roses.”

“Thank you, truly.” Malleus turns to gaze around the garden, suddenly catching your hand in his own, running his thumb over your knuckles. “I do hope I’ll have a chance to show you my garden at home. I promise, nothing compares to the sight. Except for you, perhaps.”

“You’re too much, sometimes,” you giggle.

“If I am, do you not believe it is you who inspires such feelings in me?” Malleus teases.

The two of you take a seat on the blanket, talking and staring up at the stars as the night continues. The moonlight shines down on Malleus, making his dark hair shimmer and his skin glow. He’s never looked so beautiful.

“So, are you ready to open your gift now?”

He gives you a look. “I believe I mentioned no present was necessary. I only wanted your company.”

“I know, I know, but I wanted to do something.”

“You’re far too gentle with me. I suppose I’ll have to indulge you then.”

You grin and pull a gift bag out of your tote, handing it over to him. He settles it in front of him, pulling purple tissue paper out of the bag until his gift is revealed.

Malleus pulls out a white knit hat. He shifts to turn it around in his hands, smoothing over the fabric until his fingers run into a hole, popping out the other side.

“Oh yeah, it has holes. Y’know, for your horns.”

He stares at you in wide-eyed silence for a few moments. You break eye contact when it finally begins to feel a bit awkward.

“I know it’s not much, sorry.” You look down at your feet. “It’s just, Crowley only gives Grim and I enough for groceries and essentials. And Lilia only told me your birthday was coming up a couple weeks ago, so I begged Azul to let me pick up some shifts at the lounge, and long story short, I really only earned enough to buy some yarn. It’s super nice though, I promise! I made sure to pick yarn that-”

You’re cut off when you’re suddenly pulled firmly into a strong chest, arms squeezing you tightly.

“I will treasure it as I have treasured nothing else. Thank you.”

You smile, despite the fact that you can’t breathe well in his intense grip. You pat on his arms gently so Malleus will loosen up a bit.

“I’m glad you like it.” When he pulls away, you turn toward the cooler you’d set out with all the treats you’d prepared for him. “Now, what would you like to try first? I got Trey’s help with preparing the frozen desserts, since I thought you might like to have a variety. Oh, maybe cake first? You haven’t made a wish yet and the clock is ticking!”

“If it pleases you, then I will try the cake.”

“Great, it’s ice cream cake.”

You take it out of the box, laying it in front of Malleus and removing the container’s lid.

“May I inquire as to why a piece is missing?”

“Well…you said you hate entire cakes, so I took out a piece. Now it’s not an entire cake. Hopefully you’re in the mood to share a bit more with me tonight? I find even the sweetest things are best enjoyed with company,” you wink at him.

“Are you sure you won’t become too spoiled with all these indulgences I allow you?” He picks up a fork and takes a bit of cake, but he doesn’t taste it as you expect.

“No, but feel free to keep trying,” you mumble through the mouthful of cake Malleus feeds you. “Wait, I have candles. You have to make your birthday wish before we have anymore.”

You set three candles in the centre of the cake. It would be ridiculous to have a hundred, as much as you wish to be accurate to his age. You light them with a lighter, insisting on singing ‘happy birthday’ to Malleus before finally allowing him to make his wish.

“Blowing out fire with my breath instead of creating it with my breath. How amusing, you’ll have to teach me even more of these human customs.”

“What did you wish for?”

He tilts his head. “Am I mistaken in believing humans have customs that suggest it’s bad luck to ask?”

“No, but I’m nosy, so tell me anyway.” You tug gently on his sleeve.

“I only wished for things to continue as they are.”

“That’s all? You don’t want anything new?”

“What do I have to wish for? Everything I’ve always wanted, the thing I used to wish for each year - is already in front of me.”

The two of you talk until the sun comes up, upon which Malleus carries your snoring form home to Ramshackle, a smile lingering on his face from the previous night.

#i hustled to get this done for his bday so ignore any typos- #twst x reader #twisted wonderland x reader #malleus x reader #malleus draconia x reader #malleus draconia #twst #twisted wonderland

[createserenity]

I won’t leave you on your own.

Right, this might be controversial, or I might be the only one who sees this moment in this way, but I need to talk about this now. It’s really sweet when Crowley says this, except what happens afterwards isn’t sweet at all. And can I just add right now that I love both Azirpahale and Crowley, they’re both wonderful and also brillianty flawed, I don’t hate either of them. But as far as I’m concerned Crowley behaves really stupidly here.

GIF by ladybokatankryze

C: I’m going to get the humans out of here and then I’m coming back. I won’t leave you on your own. A: I know.

Oh dear, Crowley. Why did you leave him on his own after saying this? Why did you let Aziraphale down? Why does no one talk about the fact that you did? You walked out that bookshop and Aziraphale was so confident you would come back that he expressed this confidence to the humans and then defended his reliance on you, “Crowley will have a plan,” “Rescuing me makes him so happy.”

But you didn’t come back, Crowley! Why? You left the bookshop, spotted Muriel and then in some super weird ADHD* move just left Aziraphale to sort out the demon problem on his own whilst you went off to heaven. Whyyyyy?

Now okay. I admit, Crowley was working towards the ultimate goal of finding out what the heck had happened to Gabriel, which was something that needed to be done. He spotted the opportunity, knew it probably wouldn’t come up again and so took it. He did what probably needed to be done. He also did it expecting that the demons wouldn’t ever be able to enter the bookshop because Aziraphale was never going to say they could come in. It’s not his fault Maggie is an idiot. I still love him and so does Aziraphale. Also Aziraphale is perfectly capable of defending himself in some ways and we see this after Crowley leaves…

BUT. What a mistake.

He basically left Aziraphale on his own to fight the demons. An Aziraphale who trusted so absolutely that Crowley would come back, and that Crowley would know what to do, that he hadn’t bothered to come up with the whole plan himself. He didn’t have to. Aziraphale and Crowley are a team, they work together and they don’t let each other down.

Except this time Crowley did.

It’s unclear exactly how long Crowley spent in heaven watching the trial etc but since the ball starts at 6.30pm and the demons seem to turn up not that long into the evening, we can assume it’s a really long time. By the time he comes back it’s very clearly morning again, the entire night has passed. Maybe Crowley didn’t intend to be away that long, maybe he expected his jaunt to heaven to be quicker, or maybe this is because time passes differently in heaven and Crowley had no way of knowing exactly what time he’d return to earth, but whatever the reason, he leaves Aziraphale alone for a really long time, after explicitly stating that he won’t leave him on his own.

By the time he does turn up it’s long after the battle is over and long after Aziraphale has been forced to take an action he really didn’t want to take in order to defend himself and the bookshop.

Just look at Aziraphale’s face when Crowley returns, he isn’t super delighted to see him, he's sort of happy, but more looks like he can’t believe Crowley is actually there.

When he says, “You came back!” he sounds kind of surprised and also perhaps relieved. Why? Because he’s given up on Crowley coming back by that point. He has no idea what has happened to him or why he let him down so badly.

I think we can fairly safely assume that Aziraphale and Crowley can sense at least to some extent where the other one is when they are both on earth if they try to do so, and it’s probable that at some point after sorting out the demon problem Aziraphale had wondered where Crowley had gone and tried to sense him, so likely he knows Crowley has been away from the earth. What he doesn’t know is where he’s been or whether he went there willingly (at least until he turns up with a bunch of angels, at which point he’s intelligent enough to work it out).**

So now he knows where Crowley went, but he doesn’t know why or what he discovered. He’s still in the “Crowley let me down,” space at this point. Then Crowley asks what happened to the demons and Aziraphale has to tell him he blew up his halo. Crowley finds this delightful and he laughs, but for once they aren’t laughing together. This is only the second time that we have seen Crowley laugh at Aziraphale (the first is when he mocks him about thinking he’s a demon after the Job thing, which he quickly stops doing and switches to being kind when he realises how upset Aziraphale is). When he laughs about the halo he doesn’t mean it to be mocking, it’s actually the same disbelieving reaction that he does on the walls of Eden about the flaming sword, except magnified, he doesn’t just do a single “you what?” of disbelief and amusement as he does in Eden, he properly laughs because he knows Aziraphale better and thinks their relationship can take the laughter.

Usually he’d be right, but the problem is he’s just let Aziraphale down. So while he isn’t really mocking Aziraphale, because he loves that Aziraphale does these unexpected and wonderful things, Aziraphale doesn’t like the laugh at all. Look at his face. He glares at Crowley and his look very much is one of, “if you’d come back like you said you would, if you hadn’t let me down, I probably wouldn’t have had to do it at all.”

Then since Crowley rather stupidly doesn’t read the reaction and stop laughing the look changes more to, “I’m really upset about all this, please, please don’t laugh at me, you’re hurting me.”*** It's only shown briefly so it's difficult to capture, but you can just catch this in his expression before the camera cuts back to Crowley, and then again for a second when it recuts to Aziraphale, just before he reacts to the arrival of the demons.

Basically, Aziraphale is really fucking pissed off and upset with Crowley at this point. (Side note, Maggie and Nina look less than impressed by the laughter too – even they know it’s not the right reaction.)

If you need anymore evidence of how annoyed he is, look at how far away he stays from Crowley whilst he’s laughing. Aziraphale never stands that far away from him!

Luckily for Crowley Aziraphale is very good at forgiveness, and also very much likes it when Crowley takes charge of a situation and thankfully Crowley finally steps up. Whilst Aziraphale worries about what he’s done (look at the tension in his hands) Crowley categorically declares there will be no war and the demons react by listening to him. You can see Aziraphale start to reconnect with Crowley, his eyes flick back to him and then once Shax is up and awake his hands relax and he closes the distance between him and Crowley, angling his body towards him and standing close to him again.

Crowley is going to sort things out and Aziraphale’s faith in him is easily restored, although without doubt it’s suffered some damage underneath.

So what does this all mean? Well, firstly Crowley hurts Aziraphale deeply here and doesn’t realise he’s done it (and this is the second hurt he’s caused him within the space of a few days). Aziraphale forgives him pretty quickly, because Crowley unknowingly repairs things and Aziraphale is so full of love that it will take more than this one transgression to break their bond.

What it does mean though is that Aziraphale has just had a reminder of the demonic nature of demons shoved in his face. Crowley has just hurt him in several different ways in the space of a very short time. I doubt he consciously sees this as demonic because by this point I don’t think he really even thinks of Crowley as a demon on a day to day basis, but I do think he is responding to that hurt in a very human way.

Look, if your partner left you in a sticky situation and told you they would be back immediately and then didn’t turn back up for hours wouldn’t you be pissed off? Even if nothing happened (if Maggie had never let the demons in for example) you’d still have a few things to say about your partner’s hours of absence – yes, even if they had just unveiled a huge clue about why the whole situation was happening in the first place. That wouldn’t undo all your thoughts about how they let you down really badly and left you on your own in a terrible situation.

Another issue is Shax’s demonic nature – specifically how Shax has hurt him during the attack on the bookshop. If Crowley had been there there’s no way Shax would have had even half a second to get in her jibes to Aziraphale, but he’s not there and Shax gets her chance. What she does is play on Aziraphale’s fears about Crowley’s feelings for him (right at a time when Crowley is letting him down) and also remind Aziraphale of some of the ways in which he is a less-than-stella angel (as a side note I find it really interesting that Shax seems to have this ability to look at people and see their worst fears about themselves – do all demons have that or does every demon have a slightly different ‘power’?) So now Aziraphale has been let down by Crowley, which has directly led to Shax hurting him, and had his worst fears about his own nature brought to the forefront of his mind.

He’s been let down, mocked and emotionally wounded, and he goes into the conversation with the Metatron carrying that hurt, only to hear the Metatron singing his praises and telling him he’s, “the perfect angel for the job”. The Metatron deliberately soothes Aziraphale’s worst fears about himself in order to manipulate him. I’m not saying Aziraphale doesn’t see through it or that he is completely taken in by it or that this is his motivation for accepting the job, I think there’s more to it than that, but well… something to think about?

Mainly though, Crowley acts in a bit of a daft way here. His jaunt to heaven is funny and useful for moving the mystery along, but in terms of his relationship with Aziraphale it's an absolute disaster of a move. I'd want the "I was wrong" dance as an apology for that one if it was me. Just saying.

#good omens 2 #good omens meta #ineffable husbands #good omens #final 15 #aziraphale #crowley

[im-the-j-in-anthony-j-crowley]

What pains me most about the final 15 is the fact that they were both right

Crowley should have refused to go back to heaven, he should have chosen not to go through that trauma again, he doesn't think it's possible to fix things, so it doesn't make sense for him to go. And then there is the fact that it is almost 100% certain that no angel (except Aziraphale) wants him there. It would be him against everyone. It would be having a sign warning all the bees that you're in. Choosing to stay on Earth is the healthiest option for him

Aziraphale had to go, Aziraphale has always sought to do what is right, what is good. And trying to fix the situation is the good thing, besides, Aziraphale does believe it is possible to make a difference. He must go. If he doesn't go, he would possibly spend his whole life regretting it. Nina mentions it, he is the one who still believes in magic, that people are good. That you can change something. Aziraphale had to go

They were both right, and no matter how many spins I put on it, them splitting up was the only logical outcome. And that's something I hate. Very much

There's nothing wrong with what happened, and it's the most painful thing

I want to be able to find something that tells me that there was another option, but any other option would not be as correct as this one

Perhaps they could have better communicated what was going on, but that would have simply made the situation slightly less painful. It wouldn't have changed the end result. They were going to separate for sure

#good omens #good omens 2 #ineffable divorce #the last 15 #aziracrow #ineffable husbands #anthony j crowley #crowley #aziraphale #jay and the really long posts #good omens meta

[thavron]

So I think I've cracked this moment.

So this moment has bothered me. I've seen several people say this is Crowley breaking up with Aziraphale, but I think it has a different meaning. I think he's saying, "I understand."

Hear me out.

It was actually listening to the song Good Old Fashioned Lover Boy that caused me to have a little epiphany. I love how it's juxtaposed over Crowley rushing back to Aziraphale, indicating that he is the Good Old Fashioned Lover Boy, but there is more to it.

That song was released in 1976, which is a time when being gay or being queer of any kind was deeply frowned upon. Though laws in the UK banning same sex relationships had been lifted by this time, for consenting adults over the age of 21. Freddie explicitly coming out at this time was something that could have ended his career. Freddie danced with the media on this one, hinted but was never forthright and kept his romantic life largely under wraps. This is something that queer people did in general and had to do well into the 90s. They flirted in code, they romanced behind closed doors. They kept their love out of sight.

Much like our Ineffable Husbands.

Editing to add- that the reason this triggered something for me, is that despite the secrecy, Freddie Mercury got up on stage and sang a song about a man taking another man out on a date at the Ritz. Everyone knew. Just no one knew knew. And it wasn't enough to end his career. Much like our Ineffable Husbands. Everyone knows, including them. Just no one says a thing about it.

Which brings me back to A Nightingale Sang in Berkeley Square.

This song is about one magical night. A couple meet, fall in love, feel the magic of their romance, and then as the sun comes up they go home. It is something like a dream that has to be let go with the harsh light of day. But there is hope, because sometimes they can hear the echo of the nightingale. A promise perhaps to meet again.

So I think it is widely assumed that there is more to the 1941 flashback. I tend to concur. I think we will see the origin of why this song is important to them. I suspect the song is about them. They have one magical night, where they are both brave and express their love for each other. But then the sun comes up and they realise that they have to go back to their lives. I think they will acknowledge that the incident with the zombies was a close call, and they need to cool off and stay away from each other. Slow down.

So 1967 is the first time they have seen each other since. They both know how they feel, they're just waiting for the right time. They shouldn't have met at all, except Aziraphale wants to give Crowley the holy water. I think that explains the awkwardness but also their softness toward each other. It's a meeting of lovers, but the time isn't right just yet. No nightingales are singing. That's what Aziraphale means by "You go too fast for me." Not yet, it's too soon. We're still under suspicion.

So the end of season one, the world is not over and our ineffable husbands are free. What do they do? They go for date at the Ritz. You can not tell me this is not a date. Sorry, don't believe you. "The Ritz is the most romantic hotel in the world." It's like their whole selling point. It's why it pops up in the lyrics of Berkley Square, and also in the lyrics of Good Old Fashioned Lover Boy. It's the place where magic happens. And for me, the playing of the song, and the reference from God herself, it's saying the time is right. They can finally be together again. This is their moment.

So Season Two. I've read reviews of season two where people liken it to fanfiction. Neil calls it is a bridge season. I think it's the dream. Not actually a dream, I don't think Neil is that unoriginal. But in the song they liken that one magical night to a dream. It's a fantasy that they get to live until the sun comes up. They get to live their dream for four years. They are together and they are in love but they are still living in secret. They still don't acknowledge it. They're still holding back. One of the themes in this series is timing is everything. Maggie and Nina's relationship doesn't work because timing. The magic trick worked the time it mattered. Timing is important, and the ineffable husbands are bad at it. They should have thrown themselves into this but they were too cautious and they missed their chance.

I think this conversation is when Crowley realises. Not that he is love with Aziraphale, that was established in 1941. But that everyone knows anyway. There is no reason to hide. No one cares that they're an item. Aziraphale has a similar epiphany after his chat with Shax. So they both decide to move the relationship along, but damn do they have bad timing.

Now I am as confused and heart broken as anyone about the final fifteen. And I am certain that there is something that we are not seeing, a trick that we've missed. There are six minutes unaccounted for. Neil says its a continuity error, but he's demon, he lies.

So here is what I think, and why this line "that's the point, no nightingales" is important. At some point during that conversation Crowley catches on. Whether they have a moment of stopped time, or the fact that Aziraphale is acting so utterly unhinged, there is something that happens that we don't see and it clues him in. He is hurt and angry yes, but he understands. What he is understanding is that the dawn came stealing up, and that the interlude is over. The nightingales stopped singing, and they have to go back to work. He gets it and that's how he lets Aziraphale know.

"You're an idiot, we could have been us." He doesn't like the plan, whatever it is. He thinks running would have been preferable, but he is resigned to it.

Then that kiss. One last goodbye just in case the world ends? Desperate longing and years of pent up frustration? I don't think the trick is here. I think this is misdirection. We're all looking at the kiss, we missed the coded message that came right before. I think "No nightingales" may also suggest that this isn't the kiss. The romantic kiss will come later, when the nightingales sing again. And they will, of that I'm certain now.

The song playing in the car, a message from Aziraphale or from the Bentley reminding him to have hope. Two things we know about Crowley. He is an optimist. He loves to rescue his angel. We also know that he is the trusted stooge with the steady hand. Aziraphale will perform the theatrics, he will do the rest. The fact that he waited and didn't just storm off like he did when he was rejected in series 1 tells Aziraphale that he is still here. He's still in this.

That's my interpretation anyway.

#good omens #good omens meta #yup i have way too much time on my hands #and i hate unhappy endings #and will live in denial about this

[ssshh-im-a-secret]

Twisted Wonderland X Obey Me Prompt

I seem to do a lot of these. Anyways, this could also be read as a scenario I guess.

So, in this one, we went to the Devildom first, got dragged into Twisted Wonderland. But we don’t summon the demons. The Mirror says we don’t have magic, because of this we don’t even try out of fear that it’s right and that means that we’ll never see the brothers again. What really happened is because the magic from our world and the magic in Twisted Wonderland are so different the Mirror just thinks your soul is messed up and rules out magic entirely.

One day, MC gets really pissed at Crowley while in a dorm leader meeting and their magic activates because of their emotions. Something small. Maybe Crowley tripped, or his glass tipped over onto him, or the lights flickered, a window opened. But you felt your magic activate, and it shocks you! You’re the only one to notice, except for maybe the more observant of the cast, like Rook, Jamil, or Ortho (because of his robot sensors). 

You mull it over for a few days. Stewing in the bitter realization that you had magic all along, you could’ve been using it the whole time. And then you realize something. 

You can use this to your advantage.

During one of the dorm leader meetings that you’re left out of, because of one reason or another, you burst in, march right up to Azul, and with a malicious smile on your face and evil in your eyes you proclaim,

“I want to make a deal.” 

Everyone is shocked and trying to talk you out of it, but you’re not having it, and you hold your ground. Azul, intrigued, asked what you want and what you’ll put up as collateral.

You tell him, you don’t want anything from him aside from some tools and a place to test a theory. Confused, he then asks what you can offer him, and you tell him that you want to talk about it in a more private place, perhaps his office.

Once there, you admit that you bluffed in the meeting and don’t actually want a deal, you just wanted the attention and panic from Crowley from what you’re about to attempt to do. Curious, he stays, and watches as you calmly recite an incantation from memory, as if you’d known it for ages, though he’s never heard of it.

From the floor a very large magic circle appears, startling him, and the Tweels who sensed tension and came as fast as they could. And out comes your favorite demon, who missed you terribly and is very happy to see you.

You are more than happy to explain exactly what happened, why you didn’t summon them, and everything you’ve been through since coming to Twisted Wonderland. 

#twisted wonderland #twisted wonderland x reader #twisted wonderland x mc #twisted wonderland prompt #twisted wonderland headcanon #twst headcanon #twst prompt #twst x reader #twst x mc #twst #twisted wonderland x obey me #twst x obey me #obey me #obey me x reader #obey me x mc #obey me prompt #obey me headcanon #obey me x twisted wonderland #obey me x twst #twisted wonderland x obey me prompt #twisted wonderland x obey me headcanon #obey me x twisted wonderland prompt #obey me x twisted wonderland headcanon #twst x obey me headcanon #twst x obey me prompt #obey me x twst prompt #obey me x twst headcanon

[mysteryshoptls]

NRC Master Chef Finale

"There is no end to the culinary road"

I don't normally take requests for chapters from events, but I liked the descriptions of the students that I was planning on doing this outtro anyway. Please enjoy.

[Kitchen]

Head Chef: Right. That finishes up the prep work we need for tomorrow.

Crowley: Good evening!

Head Chef: Oh hello, Headmage. What can I do for you so late at night?

Crowley: Well, currently the Master Chef course is ongoing, is it not?

Crowley: I thought I would ask how the students taking the class are faring.

Head Chef: The students? Hmm, well…

[shows Silver, Deuce, Ruggie, Epel, and Jack]

Head Chef: Some do the best they can, even if they had a hard time learning.

[shows Ace, Idia, Leona]

Head Chef: Some are coachable, since they try to find ways to make it easier on themselves.

[shows Trey, Jamil, Floyd]

Head Chef: Some already have highly impressive cooking skills.

[shows Malleus, Cater, Vil, Ortho]

Head Chef: Some are still unaccustomed to cooking, but have a certain spark.

[shows Kalim, Lilia, Jade]

Head Chef: Some go beyond what the recipe says and creates their own spin on the dish.

[shows Riddle, Rook, Sebek, Azul]

Head Chef: Some read into every last detail of the recipe to reproduce it as faithfully as they possibly can.

Head Chef: …There are many different types of students, just off the top of my head.

Crowley: I see…

Crowley: Well, in truth, I have received many complaints from the students and professors that we've had as judges saying things like, "This isn't edible at all!"

Crowley: I was wonder what could possibly be going on… But it seems as though this course brings forward very individualistic personalities.

Crowley: Ah, that being said, of course we've also received compliments as well!

Crowley: I especially find that we don't receive as many complaints in the latter half of the course. Perhaps it shows how much the students have improved.

Crowley: And of course, all of this is thanks to our splendid chefs.

Head Chef: No, not at all.

Head Chef: It's thanks to the hard work of the students who have been taking this Master Chef course that everyone else is happy.

Crowley: Is that right! Fufufu, well, I should have expected such excellence from those attending this academy.

Crowley: I'm sure this means that the students who took this Master Chef course all came to understand just how important food is.

Crowley: One day, when they've become great mages, there can be no doubt that they will look back on this course and be eternally grateful.

Crowley: Please keep up the good work for tomorrow as well.

Head Chef: Of course! We'll make sure that everyone at Night Raven College knows just how fun and worthwhile cooking can be.

Crowley: ...Sooo… By the way, I'm feeling a little peckish, would there be anything that I could have as a midnight snack…?

Head Chef: Is that the real reason you came down to the cafeteria!? Hmph, and here I was astonished that you actually were asking me something so profound at first!

Crowley: NOT AT ALL! BUT EVEN IF IT WERE, IT'S YOUR FAULT THAT YOUR FOOD IS SO DELICIOUS!!

Head Chef: Well, I suppose, then… Heheh. Cooking can be hard work, but…

Head Chef: Whenever I can see people happily eating something I've made, it quickly revitalizes me.

[The Master Chef intro movie plays, except it is Crowley speaking]

Crowley: "Food," the very foundation of life.

Crowley: Clear oceans, majestic mountains, tender earth.

Crowley: Accept everything nature provides, and use it to nourish yourself.

Crowley: If you so will it, knowledge and valor will be bestowed upon you.

Crowley: Move forward! Never look back! The culinary road is foreboding and grueling.

Crowley: However, when you finally reach the summit, it will all be yours to claim.

Crowley: The crowning achievement―

Crowley: THE GLORIOUS TITLE OF MASTER CHEF!

Crowley: There is no end to the culinary road…

Crowley: Continue to do your best next time, as well. I'll be cheering you on!

Requested by Anonymous.

#twisted wonderland #twst #dire crowley #twst crowley #twst translation #twst masterchef

[books-and-omens]

Okay okay, so I really want to talk about S2 Crowley.

I’ve been thinking about who Crowley is in the book and who he is in the show, and the gap is significant. (@tbutchaziraphale has fantastic meta over here which I think is spot on.)

Book!Crowley is an optimist, yes? I mean, we’re outright told this:

“Because, underneath it all, Crowley was an optimist. If there was one rock-hard certainty that had sustained him through the bad times—he thought briefly of the fourteenth century—then it was utter surety that he would come out on top; that the universe would look after him.”

Honestly, what a thing for a fallen angel to believe! And to me, it’s powerful, yes, but it never quite answers the question: where is he getting that certainty?

Tv!Crowley, in the meantime, is emphatically not this. He’s never been an optimist, not even in S1—although in S1, it might have been easier to look at A & C and consider them essentially similar to their book selves if a little out of sync.

In S1, Crowley gives the whole “don’t test them to destruction” speech. He cares about humanity deeply, even if he won’t admit it. He will try to stop the Apocalypse.

And there is still a moment when he feels helpless. When he has no innate optimism to carry him through, no deep belief in the universe looking after him or anyone. When his instincts tell him to run, and he tries to follow them. When he despairs. Aziraphale pulls him back out of that despair; they make a stand together. As we know, it works.

But the thing is, the thing is. I find tv!Crowley’s lack of optimism so very relatable.

I find despair so very relatable, too.

We live in an age of deep anxiety. (Climate change, anyone? Just for starters! The promise and wonder of the Moon landing and the end of the Cold War are far in the past; day to day, we deal with the effects of capitalism, of reactionism, of continued exclusionism. It’s far too easy to feel helpless.)

So in S2, Crowley is very much the same character as he was in S1, except we see it even clearer.

He is not an optimist. He wants to run; he wants to escape when faced with Gabriel’s arrival; he wants to protect Aziraphale and himself, and believes that the best—perhaps only—way to do that is by them retreating as far away from the problem as they can.

In Heaven, Crowley finds out about The Second Coming. His need to escape and to keep his angel safe become overwhelming. But he doesn’t tell Aziraphale about the Second Coming, does he? And his repeated offer to run away together doesn't even make sense to Aziraphale. (Not that Aziraphale would want to run if he knew. Quite the opposite, in fact, which Crowley must know.)

Anyway, Crowley already knows that the clock is ticking. Aziraphale is about to find it out. (Do you notice how often, in the last fifteen minutes of S2, we hear nothing in the background but the ticking of a clock?)

And just—the despair, the desire to retreat and escape when you are faced with overwhelming odds, with a fundamentally broken system, are so relatable.

And yet escape has never been the answer.

I hope, of course, that this is what we’ll see in S3 if there is a S3. Crowley deciding, emphatically, that running away is not the answer. 

We didn't get there yet. We were dropped out of the story at the darkest point.

But I think being at this point is precisely what makes Crowley’s confession at the end of S2 transcendent.

Because it’s the same conflict, isn’t it, except on a personal scale. Despair in the face of overwhelming odds, followed by the decision to not give up.

Crowley, who’d been ready to confess, sees what is likely to happen. He sees the way the deck is stacked against him, sees that he is unlikely to get through. He feels the coming loss. 

And then he does it anyway. 

He confesses anyway. He says what he has set out to say, gasping and clawing for every word. He does it at the point when everything appears lost.

And no, we don’t see the effects of it, not yet. We don’t see what he has launched, the hook that sank into Aziraphale, the change it has wrought in Crowley himself.

But his bravery won’t be lost.

We live in a dark timeline. I maintain that this is precisely what makes this story so compelling.

Be brave. Do the difficult thing anyway. Do it anyway. Do it anyway.

Even in the face of overwhelming odds. Especially in the face of overwhelming odds. While not being an optimist in the slightest.

This is what hope is.

This is what we have to do.

(And to all of us who’d lost a comfort story: I’m so sorry. I, too, am still grieving for it. I know, I know.

Emphatically: all is not lost.)

#good omens #good omens season 2