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@iryght
Hey, nice to meet yall

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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“scientists don’t want you know” is a phrase that always cracks me up because if you actually meet a scientist they will be shaking and crying like an overstimulated chihuahua with the need to let you know
“BUT THAT’S NOT THEM!!!!”
HOW can you say that?!?!?! HOW can you sit there and watch Asa say “scrumptious” and “tickety-boo,” bring out the hot cocoa, and then watch Anthony absolutely GEEK OUT over the universe and point out the NIGHTINGALE while they hold hands under the night sky — and then look me dead in the eyes and tell me that’s not them?!?!?!
Like I’m sorry but that is literally their ESSENCE reincarnated into human form. Same souls. Same love. Same ridiculous little mannerisms. They found each other AGAIN. What more do you WANT FROM ME!!!!!!!!
Gobsmacked whenever people say it’s just some random people with their faces. Every single things said it’s them.
dead wife montage but it's a henchman reminiscing about da boss after he got put six feet under. picking flowers before hiding the bodies, wiping cocaine from your nose after a big night, that long drive down the beach to find the bookie who squealed. where did the days go
actually fucking disgusting that glasses cost any money like if you actually think about it for more than a few seconds it is so unconscionably inhumane. this goes for things like insulin and mobility aids and hearing aids too ofc but fuck man, fucking glasses? the thing you need to fucking see? its genuinely sickening and inhumanly evil that those cost ANYTHING.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
What do you mean “chat” is now referring to ChatGPT and not twitch chat? What? What? What the fuck? No?
When I address chat I am speaking to a presumed Greek chorus of real human people shitposting on their lunch break, not a machine that devours lakes to covert electricity into slop.
Character duo where one *remembers I don’t like fitting characters into trope boxes* is a completely fleshed out and realised person *remembers treating characters as real people and not story devices written with intent is bad* who is written by the author and *remembers death of the author* uh. And *fumbles and drops my pile of queue cards* ah fuck wait no *the menacing horse* what was that.
“scientists don’t want you know” is a phrase that always cracks me up because if you actually meet a scientist they will be shaking and crying like an overstimulated chihuahua with the need to let you know
can I see more of your demon oc's? 🥺🥺
These are most of my ocs for this universe!!! Some are more developed than others, and will definitely change in appearance a loT because I can’t ever make up my mind 😭
So far they’ve been separated by the main cast and the antagonists/villains! I would love to fully create a story for these guys and make a Webtoon about them one day, but I need to put in a lot of work before it could get to that point.
I will be making references for these guys for Artfight, so i’ll talk more in depth about them soon! :D
Thanks for asking about them! :)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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everybody say thank you, fanfiction
hi we are on the post apocalypse bus together can we hold hands
It's been almost 48 hours. I have processed the finale. I'm past my grievances. I've ran out of the conventional stages of grief and I'm currently on the secret 6th one. It's time for memes
One of the things I disliked about Good Omens Season 2 is that I truly didn't believe Crowley could have left the Earth behind. I don't believe it fit his character At All to even make that offer seriously. I could suspend my disbelief and accept it as a desperate offer, especially since he didn't end up leaving anyway, but it felt wrong regardless.
As much as I dislike about 95% of the writing decisions in S3 of Good Omens, I do like that we get to acknowledge Crowley's compassion. The circumstances surrounding it could be much, much better, but I think if I was to rewrite S3, I would have to find a way to keep that somehow.
Also Aziraphale's moment of leaving things up to Crowley, because in that moment what he wants doesn't matter. Prioritising what Crowley wants above all else. I think that's nice too.
coming online as someone who liked the finale

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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The Shuttered Garden: How the Good Omens Finale Betrayed its Humanistic Roots
Text: Aivelin Illustration: a-ida
The series finale of Good Omens dropped this Wednesday, leaving the fandom shaken and in absolute distress. The audience reaction was immediate, driving the Rotten Tomatoes score for Season 3 down to a disappointing 36%. The online debate grew so heated and overwhelmed with grief that numerous fan accounts faced 24-hour social media bans for their highly emotional confessions.
Viewers are highly divided. While a fraction accepts the heavy ending as a necessary evil, the overwhelming sentiment across platforms is utter bewilderment and heartbreak: "These characters do not feel like the ones we grew to love in previous seasons!"
This raises painful, critical questions: Is this sudden shift in characterization a narrative misstep? Is the tragic, suicidal ending a harsh subversion of the original book, which famously promised a comforting happily ever after?
To find the answer, one must look closely at who held the creative reins for the scripts of Seasons 2 and 3. By analyzing the writing credits, clear and undeniable patterns emerge, linking these distressing plot choices directly to Neil Gaiman’s broader, often dark and subversive, body of work.
The Solitary Vision and the Realigned Mold
While the first season captured the shared spirit of Terry Pratchett and Neil Gaiman’s 1990 novel, the subsequent seasons belong to Gaiman’s solitary vision. When viewed alongside his wider world of storytelling, such as The Sandman, American Gods, and Stardust, the tragic fractures in Aziraphale and Crowley’s bond lose their surprise. Gaiman’s worlds are populated by immortal beings who are deeply fractured at best and cruel at worst. In these narratives, it is almost a rule that celestial entities will take advantage of the hearts that love them, turning devotion into a tool before abandoning those souls to a devastating fate.
Crucially, Gaiman always veils this emotional cruelty behind high-minded dilemmas. The act of abandonment is never framed as simple coldness; instead, it is masked as a profound moral crisis ("We cannot be together because I am a god and you are human"), a sacrifice of monumental importance ("I must leave our future to save my kingdom"), or an unyielding divine necessity. Even when Gaiman’s romances lack outward malice, they are consistently denied peace. In Stardust, the mortal husband passes away, leaving his immortal, celestial wife to endure eternity in silent, isolated grief. By transforming Aziraphale into a colder, more emotionally distant figure who abruptly leaves Crowley for a heavenly promotion, Gaiman is merely reshaping Good Omens to fit his favorite creative blueprint.
Deeply Pessimistic Parallels
Ultimately, the ending of Good Omens Season 3 and the conclusion of The Sandman reveal deeply pessimistic parallels. The Sandman closes with its protagonist suffering the consequences of his own rigid nature, forced by higher powers into self-destruction so that his kingdom might survive. In the wake of this death, the universe offers a surrogate replacement - a new entity stripped of the original’s memories, whom the remaining characters are forced to accept despite their lingering grief.
Aziraphale’s sudden, illogical decision to leap at Heaven’s offer mirrors this exact brand of narrative cruelty. Neither Aziraphale nor Crowley deserved to have their hard-won autonomy stripped away for the sake of a grandiose self-sacrifice.
A Profound Departure from Terry Pratchett
This shift represents a profound departure from the late Terry Pratchett’s fundamental worldview. Pratchett harbored a deep-seated aversion to suicide tropes and grand, sacrificial violence in fiction. His works respected the dignity of both life and death. In his narrative, the Apocalypse is defeated not through self-sacrifice or bloodshed, but by the quiet resilience and stubborn pragmatism of ordinary people. The first season beautifully honored this philosophy, as the Antichrist and a group of children stopped the Apocalypse through sheer, down-to-earth humanity.
The subsequent seasons discard this logic entirely, altering the very cosmology of the universe. In Season 1, God was an infallible, detached observer whose ineffable plan quietly empowered the right people at the right moment to prevent ruin. By Season 3, God is reframed as a petulant, semi-malicious entity capable of erasing existence on a whim.
Furthermore, while Pratchett and Gaiman likely brainstormed the concepts of the South Downs cottage and the conflict between Heaven, Hell and Earth together, Pratchett would never have designed an intentionally suicidal and destructive endgame. In his philosophy, survival is achieved through an attachment to mundane, earthly joys. In the first season, Crowley is saved from hellfire by his love for his car and his human-like imagination, while Aziraphale survives because of his eccentric, earthly devotion to collecting rare books.
Conclusion: Fanfiction or Harsh Reality
A true thematic continuation of both authors' visions would look radically different. It would find Aziraphale and Crowley left alone in a quiet bookshop for eternity, weaving their magical memories and shared love for humanity together to rewrite every lost book back into a brand-new universe. If that choice ultimately stripped them of their divinity and left them mortal, it would be a logical, bittersweet happily-ever-after within the sanctuary of a beautiful, earthly garden.
Instead, Gaiman has opted for character regression and profound emotional devastation. To pretend that Aziraphale's betrayal of Crowley and their martyrdom makes narrative sense within the established logic of Season 1 is an exercise in denial. Audiences are left with a stark choice: either view everything past the first season as high-budget, angst-driven fanfiction, or accept a harsher reality. The original, humanistic spirit of Good Omens died with Terry Pratchett, leaving behind a cold universe engineered for heartbreak.
Why Season 1 (and the book) will forever be the best^^^
As happy as I am to have them back, however briefly, a lot could have been done better TvT
That's why we've got fanfiction, however, so let's keep up the good work and enjoy the good bits of what we've got🤝
"Well," said half the fandom, "that one went down like a lead balloon."