My favourite headcanon, which many of us seem to agree on, is that Anthony walks past the bookshop several times before gathering the courage to step in. --- So that's why Derek was so sure Anthony likes Asa. 🤣 --- @goodomensafterdark
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@quoththemaiden
My favourite headcanon, which many of us seem to agree on, is that Anthony walks past the bookshop several times before gathering the courage to step in. --- So that's why Derek was so sure Anthony likes Asa. 🤣 --- @goodomensafterdark

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see unfortunately I have this condition where if I am not explicitly told that I am a part of the ingroup then I will assume I must be part of the outgroup
It just always felt very thematically important to me that Crowley and Aziraphale demonstrate the Theme of Humanity being kinder than any Angel and eviler than any Demon by being the most Human Angel and Demon and thus also being simultaneously the best and worst Angel and Demon.
Like Aziraphale is a covetous lazy hedonist easily swayed by mortal pleasures into disobedience, he is kinda jaded about Heaven in the book, he is the one willing to deceive a pair of Humans to go assassinate an eleven-year-old for him and the one willing to pull the trigger when it comes down to it… But he’s still also the only Angel who cared more about saving Humanity and the Earth than the beef with Hell, and even in the book he did managed to talk himself into having faith that Heaven will do the right thing and even his first act of disobedience, his lie to God, was because he just cared about humans so much, and he still does, more than any other Angel.
And Crowley is a Demon who has just as much if not more affection and care for Humanity, he often doesn’t have it within himself to actually cause meaningful harm to anyone, as the Serpent of Eden his greatest act of Temptation actually gave birth to human morality… but he’s also very much a slothful hedonist, he Rebellious and self-interested to the point it makes him rebel against Hell itself, and he is still Hell’s most effective tempter and corrupter by far and he did destroy a fellow Demon in cold blood, which was established in the Book as a huge Moral Taboo even for exceptionally cruel and sadistic Demons like Hastur and Ligur.
And then also, their ‘good’ and ‘bad’ actions are full of gray areas. They try to save the world and humanity mostly out of their hedonistic self-interest, both of their most ‘immoral’ actions happened for understandable reasons; Crowley destroys Ligur in what is clearly self-defense and Aziraphale plots out the assassination of a grade-school out of a sincere belief this is the only way to save the world. Moral ambiguity and humanity, that’s what this whole story is about, right?
And since GO1 sticks fairly close to the book, I think this idea is preserved… pretty well there as well. Like, I’d say that actually getting to see Aziraphale interact with other not-Metatron Angels helps drive the point even better. But also… Aziraphale lost his jadedness, while his sweetness, softness and faith in Heaven was emphasized, but so were his hedonism, pridefulness and hypocrisy. So it still evens out, just a lateral move, I think. Having Crowley be the first to explicitly mentions the concept of killing Warlock kinda lessens the importance of Aziraphale resolving to do it all on his own, but it’s done to heighten the drama around the subject, so there’s still plenty of impact when Aziraphale actually pulls the trigger…
And Crowley’s effectiveness in and fondness of Modernized Sin Spreading has been greatly de-emphasized but…. At least the new emphasis is on his laziness and deceit, which would still be ‘Hellish’ qualities, although I think this is still a much… safer variation of hellish qualities than letting him be a shameless little shit. On the other hand, Crowley’s rebelliousness and self-interest is emphasized greatly even compared to Book!Crowley, the whole Alpha Centauri plan showcases that he can narrow down the world to just himself and his Angel when things get dire.
…But even at the time it kinda bugged me how the concept of Crowley crossing some sort of Moral Taboo by destroying a fellow Demon with Holy Water was basically entirely gone. Not only was Hell 100% fine with publicly executing Crowley by Holy Water, they killed that other tiny random Demon basically just for the lols!
But, y’know, the Body Swap Sequence was otherwise so fucking Peak by Basically Every Other Metric (including furthering other important themes with Aziraphale and Crowley’s characters) that I was wiling to forgive it. Now, like, I still love all the Body Swap stuff to bits, but I also worry that it was an… omen of things to come. A Bad Omen, if you will.
Because by the time we get to GO3, this through-line is… maybe not exactly entirely gone, but definitely frayed and torn and jumbled. I suppose you can say this whole sequence plays on the whole ‘Aziraphale is simultaneously the Best and Worst Angel’…
But, like, both this scene and the whole Finale in general gives so little attention to Aziraphale’s good qualities, to that kindness and sweetness and courage, to the fact faith and trust and hope don’t have to just be foolish naïveté (And GO3 is not a Subtly Written TV Movie Thingy). And like, it's not just that wanting to enjoy Earthly Pleasures doesn't 'negate wanting to do the right thing, Aziraphale’s ‘sins’ intersect and blend with his ‘virtues’. His Hedonism fuels his genuine kind love of Humanity, his lies to God and Heaven, always to protect innocent Humans, were a demonstration of his conviction and bravery. Only Aziraphale really stands up to his own defense, and quite frankly, it feels mostly to set up the segway to Aziraphale talking up Crowley.
Which honestly just makes the whole situation here worse. Like, first things first, it just demonstrates how much of Crowley's rougher edges have just been... sanded off and retconned out over GO2 and GO3. He is just "The Best Angel" (and by implication, the Worst Demon), no interesting gray-areas nuance there. And in addition to many many other things that are Fucking Terrible about Aziraphale's 'Best Angel' speech (the inability to give Aziraphale a satisfying conclusion to his character arc, invalidating Crowley's own conception of his identity and past, the supposed 'love confession' culmination of the relationship being entirely in PAST TENSE, the massive imbalance in how this narrative treats Crowley vs. Aziraphale...), it also highlights how much we've lost the plot on this Theme of Humanity as it used to relate to the Ineffable Husbands.
In the book it was made very clear that living alongside Humanity has had a big effect on Crowley and Aziraphale, that it shaped them into the Beings we see play things out in the main storyline...
And back in S1 you could... insinuate that this was still the case. Obviously with the bigger focus now being drawn to Aziraphale and Crowley's relationship, you expect there to be a mixture of influences from both each other and Humanity as a whole but... As GO2 and GO3 went along, any sort of influence from being around Humanity got minimized more and more for the both of them. Like, Aziraphale already got so many of his positive traits and character moments attributed to being 'thanks to Crowley' and that absolutely includes his most 'Human' traits. Aziraphale couldn't even figure out how to eat food just from blending in among Humanity, Crowley had to tempt him to that first...
And with Crowley, this whole speech is about how great Crowley WAS, before his Fall, before the Beginning, before HUMANITY. If we see this Stupid Ass Speech as an accurate judgement of Crowley, then he basically burst fully formed out of God's Brow with all of his traits just inherent to his being from the start. Nothing of the things that made him so great were anything he also learned from Humanity or even just subconsciously rubbed-off on him.
Like, y'know, naive ol' me, when GO1 said Crowley was the only Demon to have an 'Imagination' in a piece of dialogue that seemed to deliberately call back to Book!Crowley's inner monologue saying Imagination is one advantage Humans have over Demons, I stupidly assumed that this means Crowley honed his Imagination from being around Humanity! That it was a cool, thematically-poignant moment because despite Crowley's Magical Miracle Power being what is literally keeping the Bentley going, the actual real Superpower behind this iconic badass feat is an inherently HUMAN trait!
...When instead I should've obviously realized that Crowley is just an inherently imaginative uniquely artistic soul who was like this since before the dawn of time and we humans have nothing to do with it, silly me!
It just drives home just how much Humanity has been diminished in this story, that is now trying to conclude itself with a Big Poignant Thing about Humanity. The agency of Humans is all but gone from the narrative that led us to this moment, no representative of Humanity is here to bring in our perspective while those four supernatural beings discuss the fate of the world, and the qualities and influences of Humanity that used to define our two main leads were gradually wiped out to glorify one of them as So Great and Wonderful and the Most Special (and thus also the least interesting version of one of my favorite characters...).
Maybe in a Better version of this scene, Crowley and Aziraphale could've realized that they are actually not that different from Adam Young. That much like him, they are technically 'divine' beings that have lived so long amongst the Humans, shaped by them, have been basically 'adopted' by Humanity, that both of them have much more in common with plain ol' mortal folks then they do with the two other supernatural beings sitting in the bookshop with them, and try to make their arguments from a point of Empathy, from the angle that they do kinda know what it's like to be a Human Person in a world jerked around by the whims of God...
(Something like that would've definitely lead into a 'Turning Human' Ending in much more satisfying and thematically coherent manner. Although I will emphasize that I'm talking about Crowley and Aziraphale turning human AS THEMSELVES, none of this reincarnation mindwipe bullshit that skips over all the emotional catharsis. But also like... maybe not inherently? Adam rewrote reality so that he was always Human and yet he still got to keep his powers, so....)
Instead all of Crowley's observations about Humanity and how much he cares about them is all in the third person, distant, pitying more than it is empathetic.
And Humanity is also diminished in the resolution of our story. Like, both in the sense that, like I said many times before, this whole ‘asking God to kill Themself and create a new universe’ thing is just not… actionable enough, at least not how they played it in the show, to be anything the Human viewers could feel like they could achieve to escape their own problems with systems of oppression, even metaphorically. It might’ve worked if we had more focus on how Crowley and Aziraphale’s Human qualities were the things to defeat God in any meaningful way.
But it’s also about how this conclusion is all about this Big Dramatic Gesture of Purely Selfless Self-Sacrifice for the Abstract Greater Good, which is… obviously there have been cases of Humans acting like this, that’s the whole ‘more grace than Heaven’ thing. But… for the climatic ending, the culmination of a series that supposed to be celebrating Humanity, and moral shades of gray, it is kinda weird for it to end on something so straightforwardly… Heavenly.
Especially when you compare it to the Book/GO1, how Adam’s victory over his Demonic ‘Destiny’ is this very human mixture of wanting things to be better, but also wanting things to be better for your own sake, because you’re the one who’s going to be living in this world…
And love, not just generally for some vague abstract concept of ‘Humanity’, but to the specific people around you that you love, to the places that you love, to the small world you’ve made around you to make sense of the hugeness of the universe…
And, yeah, a bit of selfishness, to avoid the burden of responsibility that comes with being in charge.
And Crowley and Aziraphale, for what little part they actually contributed to saving the world, did so, like I said, out of a mixture of kindness and selfishness. And all of the other Humans who contributed to saving the world did so out of an obvious, yet heroic, desire for self-preservation, and they each had their own quirky self-contradictory mess of virtues and vices…
This all feels very discordant when compared to Noble Suffering Hero Crowley’s Ultimate Selfless Sacrifice as an Ultimate Act of Universal Love to Humanity.
The conclusion to Crowley’s character shouldn’t have been about how he’s the Worst Demon because he’s just too damn selfless and caring, it shouldn’t have been about he was the Best Angel either. It should’ve been about how he’s a fundamentally Human Occult Being (and so is Aziraphale!) And not just in a tacked-on ambiguous maybe-reincarnation Human AU way, in the way the culmination of their story (and them saving the world, if you really must leave these two bozos in charge of saving the world, anyways) should have emphasized the inherent complicated self-contradictory selfless selfishness Humanity that they possess regardless of their literal species.
Yes! Part of what was so lovable about them was that they were selfish. Selfish, but also brave and motivated and funny and fully invested in their world as it was. They were complex! Grand selflessness does not have to be this peak moral trait that all characters should aspire to. Sometimes it’s okay to just be a person (or man-shaped being, as it were).
LO HICE
The crime: young duo of rats chew holes in clothing sometimes and will mark with piddle.
The sentence: a dozen smooches each day.

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Had to switch to a different tablet for this one, ngl struggled a lot.
IG - mind.if.i.slytherin.art
Let's talk - Part 1
Continuation of this
-Next part-
Sometimes I see people talk about how pointless the GO3 Gang Subplot was and how it should've totally been cut and it contributes nothing to the episode and I am… of two minds about it. Because I actually do see what was the intention here. That whole thread was supposed to be Important Thematic Set-Up to Crowley and Aziraphale's conformation with God. It's, y'know, Crowley has been playing the same rigged game over and over again expecting different results that he will never get, because the person actually in charge makes sure that he will never Find the Lady. And then Aziraphale swoops in and wins the only way you can win these kinds of games, by changing the game completely.
And then in the ending, Aziraphale and Humanity has been playing God's rigged game, which only goes the way God wants it to, until Crowley requests to change the rules of the game, by creating that new 'Real' Universe.
But the thing is, that STILL makes the Gang Subplot detrimental to the episode and something that should've probably been cut, because that ending absolutely FAILS to actually fulfil the thematic throughline that the Competitive Crossword Sequence established and thus it's existence and the attempt to create parallels with the climax only highlights the failure to show God being outplayed, outwitted or defeated in any meaningful way.
The contrast between the Gang Storyline; where Crowley and Aziraphale clearly want a Thing (the Bentley), and the Mob Boss clearly does not want them to have the Thing, and Aziraphale clearly takes that Mob Boss aback by twisting the contract about 'choosing a game' to mean the most bullshit game that he is most optimized to win ever, and then winning so hard the Mob Boss gets a Heart Attack, to the God Climax; where Crowley and Aziraphale want…. the universe to not end, mostly, and God can end the universe whenever They feel like but They decide to humor them, and then Crowley just shouts at God a bunch of time that it's not fair and he knows Their game is rigged, and then God is like "okay then, what better idea do you have?" and Crowley is like "kill yourself!" and God is just "yeah sure why not lol, but you know… this mean I have to kill you and your boyfriend as well" and Crowley is like "-pensive emoji- yes", is just too vast.
And trying to look at the parallels only emphasizes how weakly the climax plays as a "defeat the oppressive system by changing the rules of their game" thing. How there is never really a point where God isn't holding all of the cards, how there was nothing binding Them to do what Crowley asked other than because They felt like it which leaves open the possibility this is still all part of the Game They want to play somehow, that Crowley and Aziraphale don't even really get what they want at the start of the scene because the universe still ends and God just starts a new one, that there's no way for them to know that God will actually keep to Their word and they literally just have to blindly trust the person that the whole point is that they shouldn't trust to do anything but rig the game in Their favor…
This is much less like Competitive Crossword and more like if Aziraphale came in to that Mob Boss' office like "Oh, you know, taking my boyfriend's car/pet/extension of body away was very rude and mean of you! And I know you games aren't fair! ):<" and complained at him a bunch of time, and then the Mob Boss was "yeah, okay, my games aren't fair, what do YOU think would make them fair?" and then Aziraphale was like "let's both stick our heads into this pit of burning deadly Hellfire and if we both die you HAVE to pretty please pinky-promise me you tell your next of kin to send Crowley's Bentley back to him, okay? (:" and the Mob Boss is like "yeah sure that sounds cool I guess I guess I wouldn't mind dying today" oh and also since the Mob Boss had access to Hellfire he always knew he could've killed Aziraphale immediately and completely consequence-free…
And also maybe the Bentley was already stripped for parts and Crowley was dead but the Mob Boss really really promised he'd get a new Bentley and send it over to someone who is probably named Anthony Crowley.
In general, I think that even under the best circumstances it's hard to make your ending both "the protagonist outwitted God by changing the rules of Their game into something they can win" and "the protagonists selflessly sacrifice themselves in a bargain with God for the Greater Good". With all the themes of unfair games and changing the rules, it's Odd that when God sets up a seemingly-impossible price and ultimatum to our heroes… they really do have to just Nobly Accept it. Those rules are apparently set in stone. It would've felt much more resonant with this supposed theme if Crowley and Aziraphale could have it all somehow, the way the Mob Boss made Crowley choose between the Bookshop and the Bentley but Aziraphale made sure they'd have both, if Crowley and Aziraphale could also have a world free of God and Heaven and Hell and be an 'Us'.
And I don't think the Reincarnation thing counts both because even if (and it's important to remember that is an 'IF') they have Crowley and Aziraphale's souls/consciousness, Asa and Anthony are fundamentally different people who have gone through fundamentally different life experiences, they were just not what Crowley was thinking of when he was hoping for an 'Us'… and also because there was no Agency here on the part of Aziraphale and Crowley, they didn't make this happen or chose for this to happen or plan for this to happen. It was just, fate or the cosmos or whatever. For this theme to work, Crowley and Aziraphale would have to figure out how to do something tricksy and clever to somehow outwit God themself.
So, y'know, Gang Subplot still Stupid and Bad and should've been cut. But it's not that it should've been cut because it was pointless, but because it had just enough of a point to drag the story down even farther.
Sometimes Aziraphale feels old. Or, he feels weary and achy and tired. He is old, that’s for certain, but angels don’t really get old. He’d been wearing this face since the dawn of time, and sometimes his cheeks were plumper or thinner, and sometimes there were bags under his eyes, but it hadn’t aged a day. Sometimes he remembers the inquisitions, the revolutions, the crusades, the war and the horror of it all, and he laments how much his years have let him see.
And then Crowley will do something like start humming. He’s wandering around the bookshop, idly rearranging things. Aziraphale doesn’t have his books arranged by the alphabet or Dewey Decimal–no silly human classification. He’s not an animal, he has a system, it’s just that only he knows what it is. And Crowley, maybe. He seems to have figured it out, or otherwise is using his demonic instincts, because he’s putting the books he plucks from the shelves in exactly the worst place he could put them. Aziraphale would be mad, but it gives him something to look busy doing when customers come in asking questions.
He can’t place the tune. It’s familiar, so familiar, but he can’t place it. He doesn’t realize at first that he’s been following Crowley around the shop, brows furrowed, following the sound like a bee tracking pollen.
Crowley finally notices him, but doesn’t stop, making contact through his glasses as he reshelves a book. The humming gets a little louder, a little more pointed and teasing.
“What is that tune?” Aziraphale finally asks. “It’s driving me mad.”
Crowley quirks a grin, taking a moment before he stops to respond. “Willard Bourke. Pianist. We saw him play in the 70s, in that little tavern, you remember. You thought he was handsome.”
Aziraphale blushes, but, yes, he does remember now. They’d been there for a drink, and Aziraphale had been mesmerized by the man’s deft fingers. “Ah.” Aziraphale clears his throat. Crowley says the 70s, like there’d been only one of them, but it had in fact been the 1770s when they’d heard him play. “I do remember, yes. I thought he’d be famous. Pity no one remembers.”
“We do,” Crowley says, and goes back to humming.
Or that time he stops by Crowley’s flat, just for some tea, just for a chat. He finds Crowley in the middle of cooking, cursing quietly to himself. The demon looks frustrated. He’s positively glowering when Aziraphale enters.
Aziraphale surveys his ingredients, face screwing in confusion. “Whatever are you cooking?”
“Stew,” Crowley responds glumly. “Or, at least, I’m trying to. I can’t get it right.”
“Part of the joy of stew is that you don’t have to get it right.” He waves his hands. “The pot does most of the work.”
Crowley hisses, raising his fingers to rub against his eyes. “No, it’s … It’s a specific stew. I’ve been craving it for ages, but no one makes it anymore. It came with these little roasted dill seed bread balls and …” He cuts himself off.
“Crowley–” Aziraphale squints suspiciously. “How old is this recipe, exactly?”
Crowley sighs, already defeated. “Mesopotamia?” he ekes out, abashed.
Aziraphale laughs. “Oh, good! It’ll be a challenge, then.” He pulls the spoon from Crowley’s hand, taking a sip. “Juniper berries,” he decides. “You need juniper berries.”
Or when Warlock is young, maybe 6, not more than 7, though Aziraphale finds it so hard to keep track. He and Nanny Ashtoreth are sitting in the garden, drawing. It’s one of the rare moments when they’re both calm, worn out from a long day of chasing and yelling and plotting.
Aziraphale pretends to mind his rosebushes, but he’s been watching them for some time. Finally, he breaks and walks over.
“Ah, young master Warlock,” he says, peering over their shoulders. “What a wonderful drawing you’ve done. You like dinosaurs, hmm?”
Warlock looks up, colored pencil held tight in his fist. “Nanny is teaching me about extinct animals. Like dinosaurs and thylacines and unicorns.”
Aziraphale shoots Nanny Ashtoreth a look. She doesn’t look back.
Warlock pipes up again. “Nanny invented dinosaurs, did you know?”
“Did she now?” Aziraphale asks. It’s hard to keep his voice straight, because he knows this to be a fact. Crowley had been quite drunk at the time, but he thought it would be hilarious. “Big ‘ol lizards,” he’d said, “just huge, you know. Like a dragon, but they’ll think they’re real, see. Biggest things ever. ‘ould barely fit in the garden, them. Big buggers.”
Warlock nods. “My favorite is the T-Rex. Nanny says it would eat you in one bite.”
Aziraphale hums, discontented, as Nanny Ashtoreth quirks a grin. He spares a glance at what she’s drawing, and stops. It’s the most beautiful drawing of a passenger pigeon he’s ever seen. The reds and blues of it, every detail in its feathers. They’d seen them together, before, before they’d all gotten hunted out.
“It’s a lovely drawing, Nanny,” he says, voice a little more earnest than he means it to be.
The pencil stops, then keeps going.
Warlock looks up at him again. “Nanny says she ate the last one.”
“I did,” Nanny Ashtoreth responds. “And don’t you forget it.”
It’s the little things, the things that, by himself, Aziraphale might not remember. It’s the feel of the earliest silk, the thrill of his first moving picture, the clamor of a Roman marketplace on a hot day. Aziraphale is good at the experiencing, but Crowley has always been one for the remembering. Things stick with him. Things that, otherwise, would have been lost to time.
They’re curled up in bed, two commas together, and it’s been one of those days. Every shine is the glint of a sword, every wayward noise a battle cry, and Aziraphale can’t seem to stop remembering. He remembers the mess and the horror of it, he remembers the loss. All six-thousand years of loss.
Aziraphale swallows, and he hates how thick his throat feels. “Tell me good things,” he asks, meek, tired, and Crowley hums and presses a kiss into his shoulder.
Do you remember? Crowley asks, and keeps going. Do you remember, do you remember?
Yes, Aziraphale responds. Yes, yes, I do now.
They lay there, and remember together, six-thousand years of good and light, and fun and joy, and it’s easier. It doesn’t take away all the bad that he’s seen, but it’s easier. He remembers the food and the smells and the heavy cotton, and the music and the laughter and his first taste of wine. The bad isn’t gone, but there’s good, too, pushing it’s way in to make room.
Do you remember when we met? Crowley whispers, their hands linking.
Aziraphale pulls them up to place a kiss against his knuckles. It was so long ago, a lifetime, but yes, he does.
I remember, he says.
there is a stripper pole in my attic. i saw it in a dumpster one day, and i went, shit, this is exactly the kind of thing my wife would want. and i didnt really want it in the house, what with it being a used stripper pole lightly seasoned with dumpster juice, but i mentally decided that if she were to see it and ask for it, i would say she could have it, and then sure enough, later that evening, she went soooo baaaaaaaabs there's this thing by the dumpster and i want it but i get it if you don't want it in the house but i have to show it to you- and i went, no you dont, you can have the pole, and that was the most surprised i have ever made her look. even compared to the day when i proposed to her, which she was prepared enough that we both knew she would say yes, and she could also get her hair done up and have a cute outfit, but not so prepared that she was not fucking flabbergasted by the 12 empty decoy ringboxes i sprung on her. i handed her so many decoy ring boxes that day. still one of the funniest things i've ever done to her.
anyway we like pacing around together and ranting in the attic but sometimes instead of pacing one of us will just hang on the pole and spin, and the other person will watch on the beanbag, which makes for these really goofy conversations where the person on the bag will say something that gets the other persons goat, such as, hypothetically, that xylophones do not belong in rock music, and then the other person will go on a tirade about this, but they'll actually only be facing the Hot Take Speaker half of the time, what because of the pole, so the response will sound something like
I can't believe
you would even suggest such
a stupid opinion. You've
been to a Danny Elfman
concert! How can you
have heard Oingo Boingo
live and say with a straight face
that they alone do not justify
rock and roll xylophones
and then that person will continue until they get too dizzy, then they'll get off the pole, and by unspoken agreement, the person on the bag will get up and trade places with them to deliver their rebuttal while also spinning and it just creates this sort of crazy strip-court lawyers debating absolute nonsense for no reason kind of vibe that frankly just really does it for us.
i don't really have any marriage advice for this i guess its just a look at what being married can look like. i thought that being married would involve a lot more stuff like carving the turkey, or barbecuing, or watching the sunset, and if id known how much time it would involve arguing for xylphones in rock music while spinning upside down i might have prepared for it a little differently.

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Part two of reverse omens
Don’t you ever leave me
i got into gomens years ago when s2 came out, but for the first time ever, i’m seriously thinking of starting a gomens blog and making an ao3. ever since the finale (I Did Not Care For It) i’ve felt this irrepressible need to create, to fill in the gaps that went unaddressed and to give my beloved A&C the happy ending they deserve. anyway i guess my concern is that i’m worried that everyone will leave for greener pastures in light of, well, everything. i don’t want to pour even more of myself into something that’s already broken my heart twice over if the fandom is just going to turn into a ghost town yk? anyway i thought as someone who’s way more involved in the fandom than me you’d have some sense of where things might be headed in the future. but also feel 100% free to ignore this lol
oooh very interesting. i do have a lot of thoughts on this!
first of all, spite is a great motivator to start creating. in fact, it’s how i myself got started in fandom, after bbc sherlock s4 aired, and i went from mostly lurker to very active blog and creator. (just when the fandom was on fire, yes)
and just like the sherlock fandom, the good omens fandom is way older than the tv show. this will not become a ghost town, ever.
i won’t lie to you, though: the fandom will change, inevitably, and in fact, it already has. after good omens s1 the fandom was massive, the biggest fics from those days have more than 40k kudos. post s2 there was controversy, and a fandom split, less engagement on posts and fics. after the neil gaiman allegations came out, a lot of people got angry, disappointed, moved on, etc. now after s3 it will again change: people will move elsewhere, others will double down, some people will join anew.
in truth: your fic will not get as much attention as a s1 or probably even a s2 era fic might have received. i will say in favour of the good omens fandom that it has an excellent commenting culture: readers tend to leave comments more than in other fandoms, which is absolutely lovely.
as a beginner in fandom though, this will likely be an uphill battle, it’s something that will need to grow, though i do know some people are desperately refreshing ao3 for good omens 3 fixits every day. and if you make a blog and write your fic, feel free to tag me in your post about it (for example in the comments) and i’ll give it a reblog.
now here we arrive at the core of it: fandom as a catalyst for creative self expression. you feel that urge to write, to seek justice for your blorbos, to become active in fandom. if nothing else, giving in to that urge will lift you up, inspire you, and help you grow in so many unexpected ways.
when i think back on my bbc sherlock days and look at where i am now, my life has forever changed. i know that if i hadn’t made that jump, there are so many crucial people i would not have met, so many skills i would not have developed or acquired (writing, amv making), big life events that wouldn’t have happened, community i would not have felt,… i would not be who i am, be where i was, if it weren’t for fandom.
everything of yourself that you pour into fandom, changes you, grows something inside you. it isn’t ever a waste.
Wait tho pls tell me non british people have also seen this advert bc it’s amazing and very important to me
Oh my loooord
The Reviews™ are in
I would love to know what the fuck has been going on in Money Supermarket’s advertising department over the last few years.
OH MY GOD
WATCH THIS. PLEASE.
Lolololololoooooooolll ❗️❗️❗️
do you think that the guy playing he-man is wearing some kind of muscle body suit or those are his real muscles
cause like i don’t think a real person could look like that
also what an awesome ad good music choice too
@thefingerfuckingfemalefury
<3 The single greatest commercial to ever exist in human history <3
Geez well now I have to go to Britain
“GOTTA DANCE WITH SKELETOR”
I am c r y y y i n g
Holy crap 😂😂😂
The greatest Super Bowl ad ever isn’t even a Super Bowl ad.
Impossible not to reblog. :)
Ok. It won’t get better than this.
👩🏼💜💀
Sometimes creative genius simply can’t be contained
Sub-Radio, the band that did Stacy's Dad, coming out with another banger for Pride.

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"Under the roof of Eden." part 3
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