why

Have you heard that Our Flag Means Death got canceled this week? We as a fandom are devastated and have created a petition in order to bring it back for one final season. I know a lot of the audience of Good Omens are also familiar with this show, so could you please share the link to our petition?

Thank you 🙏

https://www.change.org/p/renew-our-flag-means-death

Ed Teach + tongue 👀

Crowley knows some magic tricks of his own.

People make shit. It's what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, "hey, wouldn't that be fucked up? Wild, right?"

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

If you look at the tags on my original post, this post was originally about hospital horror, and how it's allowed to exist even if an individual has medical trauma and doesn't like the genre. But since someone wanted to go and put some shit on my post that I disagree with:

No, actually, it doesn't exclude those things. Dark themes in fiction are allowed to exist whether you like them or not.

Vladimir Nabokov's Lolita was not a real little girl who really got brutalized. She was a fictional character. No real child was harmed. People are not reading Lolita and going out thinking, "oh, this told me to abuse children, and clearly it's morally okay now." The existence of Lolita is not responsible for the existence of CSA.

Wes Craven's New Nightmare was pretty meta, but Freddy Krueger was still never real and never hurt any real kids, either. He's a story. None of those kids ever died, none of them ever got abused, and Fred Krueger never got burned to death, because they're all fake and never existed. Murder and CSA in the real world aren't Freddy Krueger's fault.

Jaime and Cersei Lannister are not real people. They are fake. They are words on paper, and actors on a screen. Lena Headey and Nikolaj Coster-Waldau are not siblings, and did not ever have real sex in the show. It was fake, simulated, not real sex. No siblings actually fucked. Nobody is watching/reading Game of Thrones and thinking, "oh, I can totally go fuck my sibling with no repercussions now!" The existence of Game of Thrones is not responsible for real-world incest.

Guillermo del Toro's film Crimson Peak didn't kick off an epidemic of everyone deciding it's okay to fuck their sister and kill their wife. William Faulkner's "A Rose For Emily" isn't making people kill men and sleep with their corpses, and Emily never really killed Homer because neither of them actually exist in the first place.

John Wick isn't making people run out and become hitmen. The very cute doggy that infamously dies in the first movie was not actually a real dog death--the dogs in John Wick were treated very well, according to a ScreenRant article I found!

Ghostface was played by a combination of stuntmen and a very talented voice actor, and all his murder victims were actors who were filming a pretend story. It was all choreographed and nobody really died. The benind-the-scenes stuff for the Scream series is actually really cool if you're into that sort of thing like I am.

Arcane didn't put grenade launchers in people's hands and turn them into vigilante fighters juiced up on Super Drugs--and you know what, neither did any of the things the Batman franchise has churned out. The Joker and Scarecrow and Poison Ivy and Harley Quinn aren't out there terrorizing New York City, because they're fantasy supervillains who aren't real and can't hurt you.

The endless waves of bandits in Skyrim are pixels on a screen, and I'm not killing real men when I cut them down. No real people got hurt when my Sims 4 house caught fire. Playing Super Smash Brothers hasn't gotten me into underground fighting rings, and neither did watching Fight Club.

It's all fiction.

None of it is real.

The characters are fake and do not exist.

[ID: a comment left by tumblr user msexcelfractal, which reads "Cool post OP, now do Birth of a Nation. End ID.]

Content warning: antiblackness, antisemitism, sinophobia, general discussion of bigotry and oppression

You really want to try and go there as if that's some kind of gotcha on the subject of dark fiction? Fine. Let's go there. I've got sources and free time.

Birth of a Nation is a horrific hate crime of a film. It is flagrantly racist and was connected to a surge in KKK membership. Nobody should watch that film for enjoyment. It's horrific. Nobody should be forced to watch it, either. You don't have to watch the film, and I don't recommend you do, unless you're actively involved in studying it for whatever reason. It's a bad, hateful movie.

I have not watched it in its entirety and I don't really ever intend to. There are Black scholars who have already broken it down and discussed it at length, and I don't feel I'm going to get anything out of the film that they haven't already covered. If I need to study Birth of a Nation in more depth for whatever reason, I'm going to defer to Black scholarship on the subject.

But if you tried to ban the film altogether? If you tried to erase it from existence? I would ask what the fuck is wrong with you. Banning Birth of a Nation does absolutely nothing to combat the racism that created it. It wouldn't stop racists from making racist art. It wouldn't erase the damage done by the film. It wouldn't go back in time and make it retroactively never made.

You know what banning it would do, though? It would strip film scholars of the ability to discuss it. It would prohibit people from talking about exactly why it was bad. It would inhibit honest conversations about what the film was and who it affected.

You know what you do with horrific bigoted art like Birth of a Nation? You have content warnings, like the one I put at the beginning of this reply. You don't spring it on people who don't want to discuss it. You don't put it on for people to watch without warning. You don't tell everyone you know to go and watch it and give it money.

You do things like what Warner Brothers did with their Tom and Jerry disclaimer:

“These animated shorts are products of their time. Some of them may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are wrong today. While the following does not represent the Warner Bros. view of today’s society, these animated shorts are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed.” 

You damn sure don't erase it from history and pretend that ignoring it will solve bigotry. Censorship is not the answer, because censorship is always enforced harder on marginalized artists. You ban racism in film, you ban films by Black artists who are exploring the topic from their own perspective.

When the Hays Code banned "offense to other nations," you know what happened? It didn't stop racism in film, that's for damn sure. It instead gave bigoted censors a perfectly legal and easy way to shut down art by marginalized people, which they did gladly.

The rise of the Nazi Party in Germany resulted in the Reichsfilmkammer demanding the removal of all Jewish workers from Hollywood's European locations. American films began receiving heavy censorship and bans in Germany, and so American studios complied with the Reichsfilmkammer's demands in order to avoid legal trouble in Germany.

Despite the Nazi party's outright hostility toward Hollywood, the MPPDA office discouraged any negative depiction of Germany or the Nazi party. Germany had been such a huge market for American cinema that the Reichsfilmkammer's censorship codes for German films began impacting American-made cinema. Jewish representation in cinema all but disappeared overnight. Joseph Breen, the head of the censor board, was an open antisemite, going on open tirades against Jewish people. His censorship policies were flagrantly bigoted and only served to reinforce that bigotry on a systemic level.

In 1933, Herman J. Mankiewicz and Sam Jaffe tried and failed to make an anti-Hitler film titled "The Mad Dog of Europe." The Hays Code was used to deny the film's production. On July 17, 1933, Will Hays himself ordered the filmmakers to cease and desist, all in the name of "not offending Germany."

Said Joseph Breen, "It is to be remembered that there is strong pro-German and anti-Semitic feeling in this country, and, while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”

Variety said about the subject, “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts."

Anna May Wong, a Chinese-American actress, lost out on a leading role in the film "The Good Earth," due to the Code's explicit ban on interracial relationships. The leading man had already been cast with a white man wearing yellowface, meaning that Wong was unable to be cast as the leading lady and love interest, even though the characters were supposed to both be Chinese. The role instead went to a German-American actress wearing yellowface, who went on to win an Oscar for the role.

Censorship doesn't help anyone. Censorship does not protect anyone. Censorship does not prevent bigotry, and in fact only serves to reinforce it.

Anyone who read this far and learned something: being an independent media censorship researcher doesn't exactly pay the bills, so check out my Ko-Fi or Patreon if you learned something and feel generous.

My main sources for this post are:

Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty

The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons

The Encyclopedia of Censorship, by Jonathon Green & Nicholas J. Karolides

Morality and Entertainment: The Origins of the Motion Picture Production Code - Stephen Vaughn

Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira

Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira

Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

And since you made me talk about Birth of a fucking Nation, here are some additional resources for people who are actually interested in Black media history:

Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation, by Nicholas Sammond

Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field

Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz

The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff

Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild

Darkest America: Black Minstrelsy from Slavery to Hip-Hop, by Yuval Taylor and Jake Austen

Love & Theft: Blackface Minstrelsy and the American Working Class, by Eric Lott

The Prettiest Girl on Stage is a Man: Race and Gender Benders in American Vaudeville, by Prof. Kathleen B. Casey

Dancing Down the Barricades: Sammy Davis, Jr. And the Long Civil Rights Era, by Matthew Frye Jacobson

Blackface, Whiteface, Insult and Imitation in American Popular Culture, by John Strausbaugh

A Change in the Weather: Modernist Imagination, African American Imaginary, by Geoffrey Jacques

Hollywood Black: The Stars, The Films, The Filmmakers by Donald Bogle

The Blackface Minstrel Show in Mass Media: 20th Century Performances on Radio, Records, Film, and Television, by Tim Brooks

Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser

America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin

White: Essays on Race and culture, by Richard Dyer

Black American Cinema, edited by Manthia Diawara

Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood

Framing Blackness: The African American Image in Film, by Ed Guerrero

Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle

White Screens, Black Images: Hollywood From the Dark Side, by James Snead

Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen

This scene proves, doesn’t it, that living in the car is Crowley’s choice. When Aziraphale comes back from Scotland, Crowley shoves the box at him before he gets to the threshold. He gives Aziraphale no option to even say, “won’t it be easier to leave the plants here” let alone to propose anything else. Was Crowley, by any chance, actively avoiding a conversation about him living in his car this whole time?

Crowley is absolutely not okay, we know, we know. He is frustrated, he is struggling; he is asking what the point of it all is. Yes, he is fiercely protective of his independence when he says “my car”, “the precious, peaceful, fragile existence I have carved out for myself”—and the same time, he is still not willing to talk. He probably does not even see a way to have important conversations safely; the fear of rejection might still be too much. His instinct remains to run away from trouble. With something as terrifying as vulnerability and openness, he needs Nina and Maggie to tip the scales.

He has the swagger. He acts like he knows what’s happening, like he has things figured out.

It’s a getaway car.

This is established in s1 when Crowley literally tries to load Aziraphale up and, apparently, drive the Bentley to Alpha Centauri. It’s a very strong symbol of safety for Crowley - he survives the wall of fire on the M25 because he believes the Bentley will carry him through, and he drives it all the way to Tadfield on fire believing beyond the shadow of a doubt that the car will deliver him safely.

S2 shows that Crowley’s flat is owned by or paid for by Hell and thus he’s had to move out. Fine. There’s a suggestion that Crowley is or has been submitting expenses for reimbursement anyway, and Crowley is still capable of doing miracles. There’s no real reason at all for him to be living in his car.

But he’s always ready to move. He’s always ready to go to Aziraphale. When Aziraphale rings him up and says, come here, he’s two minutes away. By living in the Bentley, Crowley is always, always ready to run away.

Presumably the only reason he hasn’t yet is because he can’t ask Aziraphale to leave the bookshop - both because Aziraphale loves the shop but also because doing so would require the same bravery he finally pulls together in ep6. But he’s ready on a moment’s notice.

In s2e1, Crowley is tense, struggling with what he’s supposed to do now, anxious about what will happen next. He’s doing regular check-ins with Shax, keeping tabs on what Hell is up to despite his fear of being found out (asking Shax if she thinks Hell knows, Shax responding that Hell wouldn’t care anyway). He’s lingering within a 5 minute radius of the shop. When Aziraphale leaves with the car, he monitors them - he can tell that Aziraphale is going too slow (urging Aziraphale to be faster about going and coming back). And Crowley doesn’t officially give in to Aziraphale’s request to use the car until Muriel arrives - until Heaven’s representative shows up to monitor Aziraphale.

Then Crowley immediately capitulates. Tosses over the keys. Literally minds how they go.

Because Crowley trusts that Aziraphale will be safe in the Bentley. Because Crowley thinks of the Bentley in terms of protection and escape. He grounds himself with Gabriel and Muriel to allow Aziraphale to leave in the safest way possible, away from prying eyes.

He’s living in the car so he can leave on a moment’s notice. So he can get to Aziraphale on a moment’s notice. He knows they’re not safe.

@johnlocked1827384

Behold

An Angel’s Temptation

“You can stay here with me, Angel.”

Has anyone else noticed this detail?

In Chapter 3, Crowley and Aziraphale meet in St. James Park; 1862. Look closely at the birds in the lake.