Today Aziraphale insisted that they begin work on the garden, despite the fact that they werenât done shelving books.
Crowley was confused until he saw Aziraphale, decked out in his dungarees and floppy sun hat, industriously clearing out enough strategic spots for him to be able to sit close by with a book and a nibble, no matter where Crowley was working in the garden.
He quietly miracled a few wards to be sure that no insects would be investigating those nibbles, and that Aziraphaleâs tea would always be the perfect temperature in those spots.
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yes, India made legal gender change impossible
but the doctor down the street who gives me my T shots
in a clinic so small that it's just two rooms
was excited for me when she said my voice had dropped
yes, India made legal gender change impossible
but the receptionist who could see that I was a man
didn't bat an eyelash when I asked to see the gynecologist
and called me sir when he asked how I wanted to pay
yes, India made legal gender change impossible
but the barber cuts my hair exactly how I want it
and never gave me strange looks for being in a men's salon
not even back when I didn't pass as one
yes, India made legal gender change impossible
but my friends have always gendered me correctly
and stick to it even when it confuses other people
and my friend's little sibling calls me older brother in Kannada
yes, India made legal gender change impossible
but my dog learned my new name quicker than the humans
and she runs to give me a kiss when she's told to
without being confused about who's being referred to
yes, India made legal gender change impossible
but I can feel the Adam's apple growing in my throat
and my muscles getting stronger, and my smile more real
and I'm growing a beard, and I talk more freely
yes, India made legal gender change impossible
but I'm here, and I'm alive, and so are you
and there are good people, people who care
and don't let them make you forget that--
you are not alone.
The rule could have heavy impacts towards trans people across society.
Last week, the Trump administration quietly released a sweeping new federal rule that would use funding threats to force institutions across the country to reject transgender people. The 400-page proposed regulation would codify the administration's anti-trans executive orders into binding federal policy, imposing a blanket prohibition on federal funds going toward "gender ideology"
The proposed rule, formally titled "Regulation for Federal Financial Assistance," rewrites the government-wide framework governing all federal grants across every agency. Among its most consequential provisions, it requires that before a federal grant recipient can receive money, the award must pass a "pre-issuance review" conducted by a political appointeeânot a career expert or peer reviewerâto ensure it is "consistent with applicable law, Federal agency priorities, and the national interest." The regulation explicitly instructs these appointees to screen for "denial by the recipient of the sex binary in humans or the notion that sex is a chosen or mutable characteristic." [...] An institution that acknowledges transgender people existâthrough its policies, its training, its healthcare, its bathroom access, its HR procedures, its name-change processesâcould be deemed to "deny the sex binary" or to âsupport the notion that sex is mutableâ and have its federal funding blocked.
Importantly, the gender ideology prohibition has no age limitationâhospitals could be targeted not just for providing care to minors but for providing gender-affirming care to adults, because prescribing hormone therapy to a transgender patient of any age could be deemed promoting the belief that "sex is a chosen or mutable characteristic."
He has his snake-like habit of shaking his hips when he is happy but his angel doesnt know that yet..
(got this beautiful silly idea from @LittleKatharsis on twitter)
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Hello!! I don't post my art publicly on social media much, especially not here, but I do have this old self portrait that I would like to share :) I really love drawing fat people and bodies in general, and this blog has been a huge boost for inspiration for me for a while. Thanks so much!
Such a wonderful self-portrait with a nice uplifting message to boot â we ALL need to engage in highlighting the amazing beauty of our bodies so thanks so much for sharing and please share more!
Today Crowley donned his sleeve garters and shuffled books around so Aziraphale could test out a few different systems for organizing his books in their new home.
At first Aziraphale was worried Crowley would get frustrated with his indecision, but pretty quickly realized that his demon needed to watch him wallowing in his books as much as he needed to wallow.
What followed was hours and hours of earnest, healing book cosseting and angel watching. Not a bad start for two retirees.
I see so many people feeling ridiculous for being crushed by the finale (me, that is me!). Terrified that they should not feel such deep pain and such a strong sense of loss because of a TV show. But is that really so surprising?
It is never truly about a TV show, is it?
If you have had a rough time in your real life for quite a while, and you were waiting for the finale to give you a bit of joy, of course this would hit hard. We are left thinking that even in fiction, a happy and peaceful existence is not an option. Love does not conquer all. The universe is rigged beyond saving. And if this is impossible in fiction, what does it mean for us, for our very real lives?
So if this is you, please do not feel that you are being ridiculous. Or at least know that it is me too :)
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Crowley deserved to be happy and accepted as a demon. He deserved to be loved for who he currently was and not just by what he used to be. He deserved to have found healing and peace in his current life, not in another where he has no memory of the life that shaped him.
Like, the thing is, the Third-Act Break Up isnât part of the Romantic Comedy Formula just Because. It became a Genre Conversation for a reason. Third-Act Break Ups donât just up the emotional stakes, they also help felicitate the coupleâs individual character arcs - the breakup happened because something about the characters wasnât fully compatible yet, and then it forces both of them to address and confront that something. And it also acts as a somewhat oversimplified dramatized way to âproveâ this relationship is strong enough to survive hardships.
I mean, obviously in Real Life, a relationship going through some of the melodramatic Third-Act Breakup bullshit that happens in certain Romantic Comedies would be seen as more of a red flag than anything. Iâm hardly going to pretend that there arenât badly-written Third Act Break Ups with bad resolutions that do not actually meaningfully address the underlying issues that led to the Break Up and/or are just too Extreme considering the circumstances, which therefore make the coupleâs supposed âHappy Endingâ seems like a lowkey toxic relationship at 'best', a high-key toxic relationship just ready to explode again at worst.
But also, in Real Life, no relationship is truly without friction or problems or conflicts or bad days ever. Obviously there is a line beyond which the relationship is just Toxic and it's better to just Get the Hell Out of There. But still, being able to work through, and making sure your Love triumphs over misunderstandings and personality differences and differences of opinions and frustrations and things said in moments of high emotion is part of having a long-term Relationship.
The Third Act Break Up is just the Dramatized High-Tension version of what happens when the Honeymoon Phase (the Second Act) is over, and the friction in the relationship comes to the surface. For the sake of the narrative, an Extremely Exaggerated Example of Friction that we can feel that if their Love triumphed over that, we can safely assume it could triumph over any other more Normal problem in the relationship in a more Normal way.
And when Good Omens Season One pulled on this Trope for Crowley and Aziraphaleâs new relationship arc, it worked perfectly. Their âBreak-Upâ was bringing to the surface a lot of the underlying tensions that have been kinda always present in their dynamic, just in the most Extreme way due to the pressures of the upcoming Armageddon. But they pulled through, their Love pulled through. It showed us that no matter what, Crowley will never truly abandon Aziraphale. No matter how much heâll insist that heâs totally leaving THIS time, heâll come running as soon as it even seems like he's needed, and he's never going to abandon Aziraphale to the horrors of Armageddon.
And as soon as Aziraphale realizes his faith in Heaven was misplaced, he immediately goes to Crowley, immediately knows where his loyalty truly lies.
He defies Heaven publicly and proudly, so he could find Crowley again (which also acts as the âThird Act Break Up as a way to facilitate necessary character growthâ aspect).
And knowing Aziraphale is alive is what gives Crowley the necessary drive and optimism to perform some truly amazing feats to get himself back with Aziraphale and save the world (or, yâknow, provide moral support and comic-relief while the actual protagonist saves the world, but thatâs neither here nor there).
And with how in-sync they are through most of this ending and then the absolute beauty that is the Body Swap, all of this creates the sense that their relationship has come back from both interpersonal crisis and Armageddon stronger than ever. That if they went through all of this and still chose each other, they can get through anything and they will always choose each other.
âŚWhen GO2 decided to essentially walk back this very satisfying conclusion to do what seems like a second, bigger, badder this-time-for-all-the-marbles Third Act Break Up⌠and I will argue and emphasize that the way GO2 in general and the Final Fifteen in specific is structured and framed is absolutely meant to invoke the structure and convention of Romantic Comedies and the Third Act Break Up... At the time, I was intrigued and optimistic of where this through-line was going.
Like, the idea that GO1 didnât actually fully resolve Crowley and Aziraphaleâs personal and interpersonal issues because progress isnât linear, especially when it comes to healing from trauma and unlearning indoctrination, especially when it comes to two beings as old and set in their ways as Crowley and Aziraphale, felt intriguingly realistic. And then making the conflict not Aziraphale choosing Heaven over Crowley, but thinking he could have both Crowley and Heaven felt like a good way to raise the stakes. As well as the other little problems in the relationship highlighted and showcased throughout S2, all made me feel emotionally invested.
It felt like this new Third-Act Break Up is going to set up, much like the first one, much like the Trope Convention it is clearly invoking, something triumphant and heartwarming. Something that will showcase to us how these two can work through the problems in their relationship, and even if they can't address every single little flaw, it will be something that will make the audience feel like whatever problems remain or will appear afterwards, they could now actually handle them like Grown Up Celestial/Occult Beings.
The Cliffhanger was very much "oh no! How could Crowley and Aziraphale's relationship get salvaged after all of this!" with an insinuation that once we tune in to the next episode, we'll find out!
But what we actually got was... This Break Up did not facilitate Crowley and Aziraphale's character growth into people who could have a better relationship, during the Time Skip, they basically regressed into having the most extreme and most unhealthy versions of all of the character flaws that led us to the Final Fifteen in the first place.
And then they died, with so few of their relationship problems getting a meaningful culmination or resolution this time. "Aziraphale takes Crowley for granted and doesn't sacrifice enough in the relationship" is basically the only problem that really got enough narrative attention to say that it was 'resolved', and the resolution was Aziraphale agreeing to the Singular Grand Gesture of going along with Crowley's sacrifice out of love. When GO2 was all about how the grand gestures of GO1 weren't enough to solve their relationship problems in the long term so who knows if this development would've stuck if it didn't matter because they Literally Died Moments Afterwards. With so much time spent bickering at talking at each other, it's hard to get a sense that their love could survive the Final Fifteen the way it triumphed over Armageddon.
And then Asa and Anthony, if they really are Aziraphale and Crowley reborn and given their 'Happy Ending' as Humans, only reinforce this idea. If the only way they could have their Happily Ever After is not by triumphing over the external and internal struggles, not by proving their love is stronger than their anger or frustration or doubts , not by being able to heal and move past what happened in the Final Fifteen. Their Happily Ever After only comes by putting them into a world where these problems just never existed and starting over fresh without all the "baggage" from before.
And, I mean, I went over many times before how the limited runtime Asa and Anthony inevitably have in this story means them and their relationship just doesn't have time to establish all the beautiful human messiness that Aziraphale and Crowley have, so they come off as kinda Inhumanly Perfect (âŚin this ending supposedly about the beauty in imperfect human lifeâŚ). But it's also notable just how much of the limited screentime we have with them is seemingly dedicated to establishing that the internal and external friction that Aziraphale and Crowley's relationship struggled with just does not exist for them. Not that they're doing a better job of handling it, that it just doesn't exist.
Logically, we might know that relationships with literally no problems or disagreements just don't exist, but.. I mean, with the information the show has given us, it won't be out of the question to assume Asa and Anthony only stayed content and happy together because by some quirk of the universe they literally faced no problem or difficulty as a couple ever.
There's nothing inherently wrong, storytelling-wise, with invoking Tropes such as the Third-Act Break Up in order to subvert or change them, but these kind of subversions and changes have to be done with intent and skill. You have to know what sort of story you're telling through this subversion, and I don't think this was the story that was intended at all. For this story to work, we are supposed to see Aziraphale and Crowley's love as Powerfully Beautiful, at least so it would be oh-so-tragic that it must be sacrificed for the Greater Good, and Asa and Anthony's love as, at the very least, some sort of reflection of this powerful beauty. But the set up and failure to deliver on the concept of the Third Act Break Up just makes both of those relationships feel much weaker than they should be. Much weaker than Aziraphale and Crowley used to be.
The Good Omens ending is like being immersed a exhilarating story as a young kid about wild adventures and fantastic creatures and new places and then having it end with - and then parents came home and yelled at them and they went to bed.
Because the moral of the story is that tomorrow is a school day and magic doesn't exist and we need to wake up.
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piggybacking off this post by @aduckwithears: what if the bookshop was noah's ark 2.0, but for everything?
what if they end up in the shop after everything has been erased, only this time crowley thinks: was the place always this big? itâs more of a maze than he remembers, now that heâs properly looking. rows and rows of shelves twisting and turning in a dozen labyrinthine directions. staircases spiraling up to nowhere. hallways branching off the foyer like tree roots, thatâs new.
aziraphale emerges from the bowels of the shop, successful in his quest for cocoa. a warm drink at the end of all things, how painfully british. as far as crowley can tell, nothing has survived; not the earth, or alpha centauri, or any distant stars and nebulas clinging to the skin of the universe. not even light, the fastest, most fundamental thing in all of creation. but somehow, fortnum & mason has. somehow, aziraphaleâs chintzy mug embossed with the words HOT STUFF in blazing cherry red above a little cartoon devil has.
âdonât ask,â he says, pushing it into crowleyâs hands.
crowley opens his mouth, several questions and a taunt or two already lined up in the wingsâ and that's when he sees it.
oh.Â
thatâs definitely new.
âangel.â
âit was a gift, if you must know, white elephant gone horribly, horribly wrong, and then i couldnât bring myself to donate it, one can never have too much drinkwareââ
âaziraphale, shut up a moment, would you, and look.â
to the angelâs credit, he shuts up and looks.
memory is a funny thing, unreliable, easily eroded. crowley would have sworn, cross his char-blackened heart, that the tree was taller. in his mind, the branches extend like reverent hands towards the heavens, heavy with fruit, wide and green and swallowing up the whole sky. he is very small, beneath it.
aziraphaleâs hand finds his shoulder. âoh.â
âyeah.â
âwell, thatâsâŚcertainly a design choice. did weâŚ?â
âwho else? weâre all thatâs left.â but no, thatâs not quite right. the dickens. crowley scoops it up, flips it open, then keeps flipping, eyes dancing over pages that are no longer empty.
next to him, aziraphale frowns into his mug. âbut how? if this is some sort of, ofâŚcosmic leg-pull, i confess iâm failing to see theââ his face goes blank, then lights up like a christmas tree, a study in giddy. âoh! oh, of course. even the dickens.â
âit was you.â crowley takes his time with the words, feeling each one rush through him. an equal yet opposite kind of flood. âyou named him, and it brought him back.â
they gaze at each other, stunned.
âwe need more books,â says crowley, at the same time that aziraphale declares, âwe need more cocoa.â
and so it goes. they start with the classics, squabbling over semantics (âfor the last time, crowley, twilight does not count. i donât care how many copies were sold worldwide.â) they brave the jeffrey archers. they pore over encyclopedias, scraping their teeth on words like lithospheric mantle, reveling in the euphony of sonoluminescence. and something peculiar starts to happen, a sort of field of dreams situation.
people start happening.
theyâre the only thing that could, really. if a tree falls in a forest and no one is around to hear, does it matter? the tree was there; the knowledge was there. it was real. it existed, in spite of. because of. what use does humanity have for a book that tells them, yes, you can be, i will allow it, i will permit it. we create our own mythos, simply by living, by looking at the rorschach blob and finding joy in the mess, beauty in the mundane. youâve seen the post: forty-thousand years ago, humans stenciled their handprints on the wall of a cave, and this morning, my niece learned to fingerpaint.Â
so yes, people start happening. friends curl up in the shopâs back room, trashing oprahâs book club pick of the month. lovers spin in a slow circle beneath the oculus as fred astaire croons from the gramophone. someone brings up the duct-taped banana (âhow fucking pretentious. anyone could do that shit.â âyeah, but they didnât. this dude did. in this essay, i willââ), and someone else says, have some art nouveau, maybe youâll calm down, and the far atrium is suddenly a tribute to klimt, bursting with geometric golds and ornamental greens. in the foyer, a young man teaches amateur card tricks from a folding table that aziraphale will swear up and down isnât his; the tag on his jumper reads, hi, my name is josh. here, a neolithic wheel. there, a 7th-century chaturanga board. paul blart: mall cop, wedged between the self-helps and memoirs. people begetting creation begetting people, an ouroboros of abracadabra, creating as they speak, until the bookshop is overflowing with it. bursting at the seams with humanity. the world is remade here, in the gaps between stanzas of that shitty poem you wrote when you were twelve, in the canned laughter on your best friendâs favorite sitcom. i am trying to get the seas back on the maps, where they belong. i am trying to love the world back to normal. we survive through storytelling, that ineffable collision of necessity and ingenuity, anchoring the world like the roots of a great tree. we tell stories to remind ourselves that we are alive. we are here.
slowly but surely, the void beyond the bookshopâs windows begins to brighten. human hands stitch the universe back together. and a small eternity later, crowley and aziraphale pull the stream of time around themselves like a cocoon, and rest.
âthereâs nothing to forgive, you know,â crowley says. âi know i was flippant about it before, but the truth isâ we were both a little bit right, in the end. werenât we?â
âand a little bit wrong,â aziraphale agrees.
there is sunlight, their time-adjacent bubble. it catches in aziraphaleâs cloud of curls, limning him in gold. not a halo, but a frame. the contour of a face and form freely chosen. every day for the rest of our lives, weâll get to choose, crowley will think, the realization settling just behind his ribs. how about that.
he sees it, the moment aziraphale realizes it too.
âactually i take it back.â crowley grins, and the space between them contracts, then shrinks, a star collapsing. âyeah, iâd like an apology for the pointy teeth. my cultureâs not your costume, angel.â
aziraphaleâs smile is luminous. âcrowley. beloved.â
âhm?â
âshut up a moment, would you, and kiss me. properly, this time.â
âsuch hard work,â says crowley, and he does. there might be supernovas. maybe another big bang. nobody is around to see it, celestial, infernal, or otherwise, but thatâs alright. it exists, it has always existed. here, in the kitchen, loving the world. steadfastly loving.
see how easy it is.
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