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@smushedd
Iâm not complaining

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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1941 Valentine day. ( okay. Iâm lateâŚ)
Please enjoy this lovely Good Omens Big Bang fic by @smushedd for which I drew a picture Fantasia
Inspired by Vaughan Williams Fantasia on a Theme by Tallis, which you can listen to while reading and thinking of angels in space
Valentineâs Day Special feat. Incorrect Good Omens
[bonus] Aziraphale ver.
Title: Fantasia
Word Count: 12205
Archive Warnings: Creator Chose Not To Use Archive Warnings
Rating: Mature
Pairing: Aziraphale/Crowley (Good Omens)
Additional Tags: Unrequited Love, Slow Burn, Hurt, Minor Injuries, Crowleyâs POV, Metaphysical Sex, First Time, Eventual Comfort, Crowleyâs Fall, Dreams, Nebula/Space, Art/Music Appreciation, Pining, Angst, First Kiss.
Summary: Unbeknownst to Aziraphale, he has inadvertently been injuring Crowley any time they touch. Not that Crowley minds, in fact he would prefer if their corporations touched more frequently, for now he will make do with his dreams.
Art: Four pieces of Good Omens art for this fic by Hollow-head
Hollow-head - Google Drive

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One of those fandom things that I love is when thereâs new characters around and, with the unwavering confidence of an old farmer appraising cattle, fanfic authors take one good look at them, tilt their imaginary hat, and go âAye. Praise kink, that one. Mighty case of praise kink if I ever saw one.â And everyone else just âaye.â
Not to mention the plot tropes.
âI donât think the Highschool AU is going to come in too strong this year. Fandoms a touch jaded for that. But the hurt/comfort is growinâ thick as weeds and twice as fast. Itâll be a good harvest, fer sure.â
@cynaram
âI hear over at [neighbouring fandom] theyâre putting the top field into fix-it fics.â
âYes, âtwould be.  They had a hard season last year, a right hard season.âÂ
âNancy down south just send word that her full harvest of smut is dead.â
âOh no, will she manage?â
âThe people still buy, apparentlyâ
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ALWAYS REBLOG WHEN YOU SEE SOMETHING LIKE THIS PLEASE; ITS SO MUCH MORE THAN IMPORTANT TO PEOPLE. IT MEANS EVERYTHING TO SOMEBODY AND EVEN THOUGH YOU MIGHT NOT SEE THIS IN THE SAME LIGHT, SOMEONE MIGHT. INFACT YOU REBLOGGING THIS COULD STOP SOMEONE TAKING THEIR LIFE TONIGHT.
I noticed there isnât one here for Ireland, so
Irish free suicide helpline: 01-116 123
last time i reblogged this, i got this ask:
so please, please reblog. this could actually save a life.
keep yourselves safe!
I love you all so much, please stay.
I am glad youâre in the world; stay.
You are loved âĽď¸
and more speedpaints from early 2019
Supernatural and Good Omens take place in one Universe. Change my mind
Iâd like to talk about something that has been bothering me and I havenât seen addressed anywhere else: Hellâs physical effect on Crowley.
There has been a lot of talk about how Heaven is generally emotionally abusive and controlling while Hell is generally less suffocating/paying less attention to their demonsâ behaviour - except actually physically punishing them when found lacking. Regardless, Iâm going to say Hell has a sort of constant latent physical aggression on Crowley, which manifests at least three times during the show and is frankly unsettling to watch:
1 - the hand burning in the graveyard when he signs the contract (more about it here):
2 - the passing of information about his mission shortly after in the car, which steals Crowley from consciousness to the point that he almost crashes into another vehicle:
3 - the Satan scene at the airbase, where Crowley is literally yanked to the soil, in pain, because Satan is coming to exact vengeance:
All of these instance look terribly creepy to me, especially considering that Crowley doesnât quite belong in Hell. It feels like many small violations, forcing apart his defences and getting in uninvited whenever they want (especially 2; that never fails to make me cringe).
There are also subtler hints, like Satan and other demons randomly chiming in in the car radio, or Hastur and Ligur appearing in whatever screen Crowley is watching/in front of in order to bully him, hinting to the fact that they always know where he is - and can very likely spy him at his place; one could speculate that thatâs part of the reason why Crowley spends so much time in the bookshop but not the other way around. Did he ever have to keep Aziraphale from buying a TV set?
Anyway, it makes you feel bad for Crowley, makes him look terribly vulnerable in that aspect, which makes his flippant exterior look more like a defense mechanism. One has to wonder how often heâs willing to go Downstairs and face THAT, and how scared he actually is when he does. Now to my question: is this how Hell is with every demon down there? Is it just with Crowley because he is a cinnamom roll acting too kindly to pass as a real demon? Is it intentional at all from Hellâs part?
And yeah I made myself sad and Iâm not okay and goodbye forever
Gif credit (x)
Really great post, op. Iâve always known that these little details re: Crowley and his relationship with hell affected me on a deep, instinctive level, but I havenât quite been able to put my finger on the why, or the commonalities between these fleeting instances of cruelty, the pattern underlying them, and their emotional significance. Seeing all of these laid side by side really offers a view into the sort of existence Crowley has led up to the false Armageddon.
At the risk of hijacking, Iâd like to talk about each of these moments a little bit, just because I have a lot of Thoughts and Feelings on them.
1. The fire from signing the contract
(gif credit alecharrdy)
Honestly, as far as I can tell, this is the moment when the show first became emotionally significant to me. I went in knowing very little except what Iâd read in about two dozen book fanfics, and the character intros for A,C, and Adam on the GO Lexicon. So I was basically watching blind, and I was going âhmmm, interesting narrative voice, great intro, oh whoâs this flash bastard with a drunk girl walk,â and then the contract signing happens and I was likeâŚoh.
That moment caught my attention. I didnât know what exactly about it did, but it did.
Looking back there are a multitude of reasons: the viscerality of the moment, the immediacy of it, and the cruel sense of surprise - who would expect signing a contract is going to involve having your hand nearly burnt to a crisp?
But also the way that Crowley deals with it. He isnât surprised. A little caught off guard, perhaps, and the expression of pain is more than real enough, but there is no panic, no protest, no confusion. Only a sense of annoyance and exasperation, shaking the fire off as if his hand being on fire is nothing.
Itâs also a really texually ambiguous moment. Weâre not explicitly told why signing the contract would ignite a small fire. Perhaps it was the enchanted paper. Perhaps it was the power of the sigil Crowley has drawn. Perhaps itâs just what happens when hell performs rituals like this. Basically we donât know from whence the fire springs in this scene: is it hell, or is it Crowley?
But wherever it comes from, the sense of danger and abusiveness is the same. Whether itâs a form of imposed self abuse, where one is forced to prove oneâs identity and provide consent in a way that harms oneself, or a more direct and upfront form of aggression involved in the everyday bureaucracy of hell (if the paper is what causes it), this moment is saying to me:
This is what being bound to hell means. Itâs being stuck in the middle of a fire physically as well as otherwise, with no way of getting out.
Itâs constant mistreatment and injury, and the pain and violence is so pervasive that it has extended even to this relatively minor action, that you really canât trace it to its origins. The mechanism is insidious: you could be the one hurting yourself, or thatâs what theyâll tell you, and you arenât in a position to prove one way or another.
The ambiguity in terms of the source of this specific pain also alludes to a larger relationship of pain, that ties together the three characters on screen. You canât really distinguish, in this scene, between victim and perpetrator, the aggressor and the aggrieved. The power relationship is complex no matter from which angle you look at it. We can talk about Ligur and Hasturâs exchange: how they seem in agreement, yet despite their mutual disdain for Crowley and seeming trust for each other, Ligur explicitly states âitâd be a funny old world if demons trusted each other.â We can look at their dialogue charged with casual threats of bodily harm, how it goes from the specified âLigur will give his right armâ, from Hastur, to the unspecified âsomeoneâs right arm,â which is definitely used to intimidate Crowley, but might also just be an honest statement. He doesnât care whose body is at risk of injury: hellâs violence is senseless, and it will take itself out on whoever happens to be within range. We can look at the fact that Crowley is being coerced into an act of evil, an act that will bring harm upon billions of humans if no actions are taken to rectify it (and oh boy does he try to rectify that), and despite that, how utterly impossible it is for him to escape that role, no matter his personal feelings. ( Not to mention: âYou will be a tool of that glorious destiny.â What does being used as a tool like that do to oneâs psyche and sense of self?) We can talk about how Hastur and Ligur deliberately throws Crowleyâs statements of self-defense back at him (âthey love me down thereâ), turning his verbal shields into their rhetorical weapons.
Hell is open melee in which the villain is everyone and no-one. Itâs who knows how many beings, all mired in eternal misery and pain, with nowhere to take it out on but each other. The only thing one is in control of is not how much pain one receives (as we see from Crowleyâs treatment; heâs escaped to Earth, and yet still completely within hellâs sphere of influence), but how much pain one gives back. Crowley tries his hardest to remove himself from this perpetual loop of suffering, choosing only to arm himself for the worst eventualities. Even so, his hand is forced in the end.
(gif credit to dailygoodomens)
Ligurâs destruction, while played partially as a joke, is highly disturbing when looked at from a non-comical angle. The death is incredibly painful. Listen to Hasturâs screams, look at his grudge against Crowley at the trial. Is it Crowleyâs fault that he had to kill Ligur? Surely not. But is it Ligurâs fault that he had to hunt down Crowley? Iâm not certain that it is, either. Heâs just another cog in the infernal machine, acting on orders, doing his job.
Itâs even more disturbing if you take Crowleyâs sense of self after the Fall into account. Being a demon is a central part of his post-Fall identity, because being a demon is being something, while being a Fallen angel is, essentially, to be nothing. The two parts of the description are non-compatible. Itâs a description of failure, of absence rather than presence, and to adopt that as oneâs identity would have been highly self-destructive - for any member of the Fallen, and especially for Crowley, who has, from what we gather, committed no serious crimes to warrant being thrown down.
(And then again, itâs not clear that every other member of hell has. Somehow I have an inkling Crowley is not the only collateral damage suffered in the War of Heaven.)
And yet, when you look at what being a demon entails - itâs just more psychological massacre. Imagine having to center your sense of self on a role that actively hurts you and destroys you, little by little, day by day. Imagine having to depend on an institution that inflicts so much pain on you, and at the same time demands from you the same kind of wanton destruction.
The relationship here is abusive to the extreme, the psychology of it borderline cannibalistic, the co-dependency resembling the Stockholm and the Lima.
This moment is, in a word, a microcosm of the ecology of demons.
2. Satanâs possession of Crowley in the car
(gif by me)
The jauntiness of Bohemian Rhapsody masks the graveness of what happens in the scene. I think, if not for the music, Iâd have to step away from my computer for ten minutes every time I come across this scene on a rewatch.
(Although thereâs a whole other essay in terms of how the lyrics of the song interprets the scene and Crowleyâs introduction, as well. Which - oh boy.)
The rape undertones is pretty blatant and self-explanatory, I feel like. Consider also the way Satan talks to Crowley on the radio (which youâd only learn thatâs him from the script book.) Compared to Gabrielâs interactions with Aziraphale, Satanâs treatment of Crowley reminds me much more of the sort of handy, boundary-challenged behaviour typical of workplace harassment, especially from people in a position of disproportionate power over those lower than them in rank.
Aside from that, there is also the fact that had Satan ended their transmission just half a second later, Crowley would have been flattened by the lorry, along with his Bentley. Sure, he wouldnât have died, only discorporated, but the pain would have been enormous. And if heâd let the Antichrist die in the process, you know that would only mean more punishment for Crowley while he is down in hell waiting for a replacement corporation.
The sheer disregard for his personhood here is staggering.
And then again, an argument can be made that maybe this isnât disregard. Maybe this is intentional. The near-miss from the lorry could easily have been a message, a threat, an (I imagine) incredibly effective form of intimidation.
See how easily I can destroy you. I donât even need to lift a finger. You are utterly in my control.
Some excerpts from the script, because this really is an awful scene to read:
3. Airfield, Satanâs impending arrival
(gif credit to larygosomens)
JustâŚlooking at the shot makes me uncomfortable. I donât know if thatâs the same for anybody else.
This moment can get a little lost in the middle of the one-long-scene that is the first half of episode 6, I feel like, but here weâre really seeing the culmination of Crowleyâs centuries-old fear and abuse from hell coming into play. Notice heâs the only one falling to the earth from the sheer force of Satanâs rage.
In the script:
But that canât be the only thing. Even after he straightens up, he sits on the ground, half paralyzed.
We can speculate on whether heâs bowled over by psychic pressure or physical pain, but here it doesnât really matter. Itâs probably a combination of the two, practically interchangeable here, one reinforcing the other echoing back to the other, a vicious, neverending cycle of panic and fear and pain, and worst of all, despair. Â
For Crowley, the character whoâd raised himself from the ground with nothing but sheer force of will and an active imagination, to be brought low again, sent to crawl upon the ground as if he had never been anything other than the Serpent, has to be the utmost form of humiliation and depersonalization. Seeing it in action, for me, is deeply upsetting and sickening, and I think itâs meant to feel this way.
This is what hell does to Crowley. They name him Crawly, dismisses his later choice of name (âwhatâs he calling himself these days?â), remind him again and again that he is no better than any of them, and that he can never, ever escape. They strip him down with torments, physical or otherwise, until heâs nothing but fear and hopelessness, and itâs only Aziraphaleâs insistence and imperative that he âcome up with somethingâ that spurs him into action - not to save himself, but to save everyone else.
But look at how hard Crowley tries to be better than what hell wants him to be. Heâs the most human of all of them, in terms of physical presentation, philosophy, as well as identification. He participates in human art and culture. He makes friends among humans. He drinks himself stupid for a week over the Inquisition. He speaks up for the unfairness of the human condition, repeatedly, as well as other animalsâ. He never lays a hand directly on any single human - nor angel nor demon, for that matter, except when he absolutely has to, re: Ligur & Aziraphaleâs execution. One is self-defense; another is defending someone else, someone he loves.
And op,
I think youâre absolutely right in saying that these moments taken together constitute a kind of relentless disregard of personal boundaries and autonomy, that Crowley has been subjected to ever since his Fall. Itâs even more tragic (when you can set aside how funny it is for a moment) to think about how in the books, Crowley proposed their new method of communication to headquarters, and theyâve now used it to hound him further. Whatever his reasons in proposing the new solution - seeking approval? Pride over his own creative intelligence? Trying to get an assignment over with? - Absolutely does not warrant the amount of punishment he has received over this throwaway contribution.
The result is that Crowley lives in constant awareness of hell, all around him, capable of intruding on his every living moment. He has never really gotten out of hell, in a way.
He is never surprised to see demons on the telly, or to hear their voice coming through the car radio. He is ever ready, ever prepared to give them a response thatâll get them off his back. Heâs always planning the next step, always considering the next contingency, always looking over his shoulder.
Hell might not have the dystopian mass surveillance capabilities of heaven, watching over everybody all the time, but theyâre plenty capable of keeping a tight watch on the only demon among their kind thatâs semi-permanently stationed on Earth. In terms of what hellâs behaviour does to Crowley, the effect is practically identical with the former. In a way, Aziraphale is one in many. His insignificance is his weakness as well as his shield; despite heavenâs outlandish technology, it wasnât until Armageddon that Michael grows suspicious and goes rifling in the archives for proof of Aziraphaleâs transgressive behaviour.
(gif credit to larygosomens)
We get the sense, however, that Crowley stands out in a glaring and unwelcome way in hell. Heâs too obviously different, not even trying to hide it. Going into hell in full human gear, sunglasses in place, speaking about some human invention? Come on. Coupled with Satanâs âfavouritismâ, this results in a kind of concentrated animosity, hatred , and distrust that we can presume has only grown over the centuries, and which is primarily represented through Hastur and Ligur.
Hellâs hatred is personal. Heavenâs hatred is impersonal. Neither is better or worse, but in practice, their effects play out in different ways on Crowley and Aziraphaleâs lives.
Iâd also like to look at another scene in the same vein.
4. At the movie theatre
(gif credit to psherman42wallabyway)
This is one of my favourite scenes in the whole show. Itâs got a really weird, funky vibe to it, thatâs a lot less upfront, less cheeky, and a lot darker than the tone of the rest of the show.
Itâs funny, gory, creepy, disturbing, absurdâŚ.itâs one hell of a scene.
Itâs also one of Crowleyâs lowest moments in the entire show.
Heâs just learnt that heâd misplaced the Antichrist, confirmed that there is no way to find him (unaware that Aziraphale is keeping secrets), semi-broken-up with Aziraphale over running out on the whole fiasco, all in the span of a short few days. He spent hours planning an escape in the confines of his own apartment, knowing heâd never do it without Aziraphale, broke down and began questioning God, and now heâsâŚhere.
In an empty theatre, in the middle of the day, watching a cutesy, brainless childrenâs cartoon called âSaturday Morning Funtime.â
Itâs incredibly depressing. Heâs resigned to the fact that there is no way to cover up his failure this time, that hell is going to get him, and itâs only a matter of time. What does he do with that time? He has no other earthly ties significant enough to keep him occupied. Aziraphale refused his offer. So heâs here, stewing in anxiety, executive dysfunction, and a grim awareness of his own as well as the Earthâs bleak future, painfully aware of the second greatest fuck-up in his entire existence.
The hopelessness of the situation, the macabre thoughts probably going through Crowleyâs head (all the threats theyâd told him over the years, of what theyâd do to him if he slipped up), his utter paralysis in the face of impending disaster, contrasts with the twee, mindless innocence going on on the screen. Entertainment meant for children, meant to be comforting, safe, harmlessâŚ
Itâs an incredibly provocative scene already. And then what happens?
A bunny takes off his head piece and reveals a comic version of Hastur, jarring and incongruous. Grim reality intruding on fantasy escapism, interrupting the only comfort he has right now, even here. Even when heâs doing the only thing he can to keep himself sane anymore.
Hastur talks about Warlock telling him he âsmells of poo,â and itâs funny, itâs supposed to be funny, but what comes immediately before and after are anything but.
Remember how Hastur bit his own finger until it bled when he realized his mission is a complete failure. Remember the way Crowley had poured holy water into a pail, movements smooth, practiced, imagined and rehearsed a thousand times, just for this day.
The possibility of his own destruction, imagined and rehearsed and obsessively practiced until heâd perfected it.
Crowley affects ignorance first, bald-faced, deliberately, obnoxiously obtuse. And then he taunts Hastur, words as ever being the only defence he had against hell, before Aziraphale lovingly handed him a thermos full of holy water.
Crowley says nothing else, because there is nothing else to say. No explanations, no amount of pleading will change his fate. Hastur spews the usual threats at Crowley, except itâs real this time, the reckoning is at his doorsteps, and theyâre both aware of it.
And then Hastur exits the screen, leaving a trail of bloodshed behind him, comic and absurd and gruesome in art style of childrenâs cartoons; fantasy over, the illusion of comfort unceremoniously smashed to pieces.
Crowley, for the hundred-thousandth time in his life, gets up, calls up the reserves of his courage to face down hell, bet his whole life on his inventiveness and imagination, because he has nothing else.
Well, he has Aziraphale, too, in the form of the thermos.
I canât imagine his sense of relief, when after Armageddon is over (for now), he can finally, truly breath free of hell for the first time in six thousand years. There is probably a sense of listlessness, as well. When youâve been living under that kind of constant fear and anxiety for that long, I imagine adjusting to a semi-normal lifeâŚwill not be an entirely smooth process.
As well, now he can finally define himself in terms other than the non-choice that is âdemonâ or âFallen angelâ. He no longer has to depend on hell for a sense of self, identification, occupation, or allegiance. Now he has Aziraphale, and he has the humans, and theyâre on their own side.
I imagine Crowley going to the cinemas again, to watch plotless romcoms and childrenâs cartoons, except this time itâs not as a way to escape from the horrific reality that heâs constantly living. This time, itâs just fun.
And this time, Aziraphale is by his side, too.
Well dang. My posting schedule had me writing a meta about Crowley and Hell today, but you lot beat me to it. Fantastic work 11/10. Loved the bit about Fallen Angel vs Demon identity.
We absolutely do not talk enough about the ways Hell constantly abuses Crowley. Much like Heavenâs emotional abuse of Aziraphale, it is constant, low-level, and geared toward making sure he never, for a single moment, feels safe.
His cool swagger guy persona is, we know, all about making sure no one realizes how anxious he is. I think even we, the audience and adoring fans, really never get a good clear look at how very scared he must be all the time.
And who is he trying to convince? Sauntering around, walking Like That around random humans, around Aziraphale, even when completely alone. The one constant is himself - heâs trying to convince himself he isnât afraid, because if he ever lets that fear consume him, well, there would be no coming back.
Whatâs insidious about it is, even after the Apocalypse fails to happen, heâs still going to be afraid, but heâs so used to not letting it show, it could go unnoticed for a long time. Aziraphale will have his own issues to deal with, and Crowley will act the same as ever, so how is he to know?
How is he to know that every time the radio is turned on, Crowley is waiting for new threats from Hell? How is he to know that Crowley is constantly trying to work out which demon itâll be when they come for him again, what heâs going to need to do to stop them? How is he to know that Crowley doesnât know how to not be afraid?
(What? Use this as a theme in my fanfiction? Me? Planning to post another chapter this evening about Crowley and Hell? How dare you cast such aspersions! But yes itâs called âWhat it Means To Be A Demonâ and the link is in my bio.)
I mean, we get a lot of mileage out of calling Crowley a walking anxiety attack but damn, wouldnât you be? Â
* Any time heâs around a screen or a speaker, Hell could be listening. In the novel itâs made explicit that they can keep talking even if the device theâre using (in this case his TV) is turned off; thereâs no reason it wouldnât work for surveillance as well. Iâll bet one of the reasons he likes the bookshop is because thereâs nothing in it Hell could be using to spy on him (unless the gramophone counts, but I doubt it does). Aziraphale doesnât have a TV, or even a big boxy old-fashioned radio.
* Hellâs punishments are bad enough that Hastur, a Duke, is afraid of them. Crowley thinks about them using the Spanish Inquisitionâs methods on him, âone at a time and then all together,â for losing Adam.
* He has no way of protecting himself against them that isnât dangerous to him as well.
* He isnât a particularly powerful entity. Heâs contrasted once with Hastur by saying Hasturâs a Duke and Crowley â[isnât] even a local counselor.â (This is why the Raphael HC doesnât work for me.)
* That thing about âeternity in the deepest pitâ? That was a serious possibility; if any of the other demons had just enough of a spark of imagination to realise that suffering is worse than oblivion, it could have been extremely bad for Aziraphale.
* The only long-term friend he has or can have is someone who plays for the opposite team, frequently reminds him of this fact, and has a boss whoâs been known to show up with no warning in random places and could squish him like a bug.
* Any random water could be deadly to him. The Catholic Church holds that if you add any amount of holy water, however small, to any amount of plain water, however large, all of it becomes holy. Thankfully that doesnât seem to be the case in the GO!verse, but still. He canât tell what waterâs safe for him; he canât sense the holiness. At least he canât through the walls of the thermos (he has to ask Aziraphale if itâs holy); a thinner container might allow it. But Hastur canât tell that whatâs in the plant mister isnât holy till a drop of it gets on Crowley and he isnât hurt, so at the very least he has to be dangerously close to it to tell.
* This is a person who lived through the Middle fucking Ages as a demon. He canât enter a church. He canât let holy water touch him. He has weird eyes and possibly weird feet. Basically anyone in Europe believes in demons, and has an idea of what things are effective against them. Paranoia, thy name is Crowley.
I donât approve of the plant-terrorizing, but I can damn well understand why he does it.
Big yes to all of this. It is so important to acknowledge what Hell is putting Crowley through.
AND⌠it makes total sense. If you are going to try to control a massive population then first of all you go for psychological control, for the kind of insidious abuse that gets under peopleâs skin, for gaslighting and propaganda and deftly used emotional abuse. But⌠in a big population that wonât take with everyone. Some will fight back. Some will bloody well question anyway. What do you do with these people? You separate them from the main population, from the people the psychosocial control is working on (minimising contamination) and you control them the good old-fashioned physical way with threats, and physical abuse and constant looming surveillance. You stop trying to convince them of your plan and start simply getting compliance to the plan through physical threats. And that is Good Omens Heaven and Hell.
Alsoâ his fear when Aziraphale raises his sword for a momentâ it makes so much sense in light of all of this. And the fact that he has a moment of fearing Aziraphale of thinking his angel would run him through shows how deep the trauma is.
the fact that he has a moment of fearing Aziraphale of thinking his angel would run him through
Scuze me gonna go cry a lot nowâŚ
Aw⌠it is just a moment though. He has a long history of finding safety and refuge in Aziraphale which is why he flicks back out of it with ease.
Post is full of absolute gold. It's incredible, anyone who contributed, well done. Slight side note, do you think the fact that Hell can intrude on Crowley at any time is why everything turns into Queen in his car?
Perhaps it is a comfort to him, the band Queen, I have seen a lot of HC that Crowley could have been friends with Freddy. I can certainly see how the lyrics are very relevant to a lot of Crowley's situation.
Bohemian Rhapsody is perhaps one of the more obvious songs to reach towards.
Let me go (we will not let you go)
Scaramouche- translated as 'little skirmisher' (skirmish: a soldier normally sent ahead of a main troop to harass the enemy) will you do the fandango, Scaramouche meaning a character who boasts, is cowardly and a 'fool' type character. Fandango is either a. A lively dance with two people or b. An elaborate or complicated process or activity. We can directly relate these lyrics back to Crowley, he is sent ahead of the demons to keep up with Earth, he is very boastful of his M25 and as mentioned before methods of hell communicating with him etc. And I quite like how we can pick a definition of fandango, with Aziraphale it can be a lively dance, with work it is an elaborate process of keeping up appearances.
With this in mind, in a lot of ways I see the Bentley as one of Crowley's happy places away from Aziraphale/the bookshop (with the uncertainty of the fate of the World, Crowley doesn't lean too obviously on Aziraphale even though they see each other more, to protect them both). The Bentley protects him, and he protects it. It can traverse a wall of flames and keep him okay right until the end of the world, it goes fast and constantly moves which seems a comfort, staying still can be dangerous. Even though he doesn't really have anywhere to hide, Crowley can run. (Hastur in the cinema: stay where you are. Crowley: nope) and other demons don't seem to be able to keep up with the 'flash bastard' in terms of basic technology or even jokes, thankfully, other wise Crowley mightn't have gotten Hastur trapped in his answering machine.
With that in mind, and how the Bentley changes all music back to Queen eventually, I like to think that the music slipping over is Crowley's subconscious bleeding out inadvertently. It must be a strain to keep up the sauntering facade, and something has to help him keep his cool day to day with all the pent up anxiety.

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Commissioned comic for @yamikakyuu based on a scene from Fleabag. *Eyebrow waggle*
One more GOmens commission on the burner. Woot woot. Then I can work on animating!!
if nothing else iâm glad that the tv adaption brought about the mass headcanon that crowley is raphael and thus is a fallen archangel because thatâs SO fucking galaxy brained i donât know what to do with myself
like THIS is why you welcome new fans with open arms because for thirty years we were making up random angel names for crowley before the fall and then one new tv fan was like âwhat if he was raphael patron saint of healingâ and like their MIND their FUCKING MIND
I liked the one where he was called Anthony and didnât realise that heâd picked the same name again, but yes! The Patron Saint of Healing has to look at the suffering of children and innocents and question why. Thereby, falling⌠đ˘đđ
oh my god oh my fucking god he questioned suffering he questioned suffering and was cast out because god is not always merciful this is LITERALLY what iâm talking about i am going to SCREAM
Stupid Ineffable PlanâŚ
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still donât really understand how some people have trouble just being nice
Oh my gosh youâre such a good person. Hey everybody come look at how much of a good person this is.
i literally cannot comprehend how you got offended by this but thanks for proving my point anyway
Ineffable Drama Queens

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When I was 13 years old and curious about sex and love, I asked my mom if she had had sex before marrying my father (of whom she is still married to, and has been since before I was born). She said that that wasnât really a âyesâ or ânoâ question. I said âsure it is, youâve either had sex before him, or you havenâtâ. She brought me onto the couch and sat me down and told me about the boy she liked when she was young and how one night she snuck into his house while his parents were gone and they were kissing and he said they should have sex and she said that she wanted to save sex for marriage and he laughed and basically took all her clothes off and he raped her and as my mom was telling the story she cried and this was the second time I had ever seen my mom cry. She was 12 when it happened.
In grade 8 I got a call from my friend in the middle of the night and she was drunk in the park crying and told me that she went out that night with some other friends and they drank a little and her guy âfriendâ starting flirting and yes she laughed at first but then he tried to pull her shirt over her head and she pulled away and he ripped her shirt and it was her favourite shirt and then he pushed her to her knees and HIS BEST FRIEND HELD HER JAW OPEN WHILE HE FACE FUCKED HER. And so I went to the park and picked her up and took her home and slept in her bed with her except we didnât sleep because she just cried and her mouth bled and this was four years ago but I still have to be the one to bring her items to the till it the cashier is a man, and she still has anxiety attacks and sheâll get a rash all over her body and I just want to kill those boys but instead they are still walking around. And Iâm in the bathroom with her, dabbing at her skin with a warm cloth until it returns to its regular colour.
And in grade 9 one of my closest friends was kinda seeing this boy and so they hung out one night and then she said that she really had to be getting back home and he said that she wasnât going anywhere until she gave him what he wanted and he parked the car and took off her clothes and she said no and he ignored her and so she laid in the backseat totally limp and just cried and it wasnât even sex, he just masterbated by using her body instead of his hand and she came to school the next day with vodka in her water bottle and she drank all day and I had to fight her to get the alcohol away from her and she just cried and threw up and I skipped class while I held her hair back and that same boy texted me a month later, asking if I ever wanted to hangout sometime.
And in that same year my very best friend who has never even kissed a boy, confessed to me that when she was 9 years old, her 12 year old cousin made her give him a hand job and he told her that was what cousins do and he gave her a chocolate bar afterwards and she told me that he probably doesnât even remember it but that itâs something that sheâll never have the luxury of forgetting.
And in grade 10 I knew a girl who invited her best friend over to watch Disney movies and then he started to put his hands down her pants and she said no but she is 130lbs and he is 220lbs and he called her a tease while she tried to fight him but he used one hand to hold her down, and the other to put inside of her and i was the one to push her inside of a classroom and stand in front of her while calling the police when he showed up at our school looking for her and she was so damn scared.
And a few months later I skipped class and was in the car with a guy who i had had unprotected sex with in the past while under the influence of cocaine but this time I was sober and I insisted we use a condom but he told me he couldnât feel anything while the condom was on so he ripped it off and I said I refused to have unprotected sex again and so he just grabbed me and forced himself into my mouth and I was crying and he pulled me onto him and I just came saying âstopâ over and over like a broken record but he mustâve heard something different because he went until he came and I just sat naked in the backseat while he drove me back to the school and said âwe should do this again sometimeâ. And I had five showers that night and I scratched at my skin so hard to try and rip his fingerprints off of me, I still have the scars.
And I found out soon afterwards that that same guy had raped a classmate of mine, 5 months earlier and she told me about how he brought her McDonaldâs first, and how he said they could take things slow and she told me about how he didnât listen to her either. And he goes to our school and so after she told me about her incident and I told her about mine, we decided to report it to the police and the trial is currently still going on and he told people about it, except in his version we are just âasking for attentionâ and all his friends talk about how bad they feel for him. As if HE is the one that still wakes up screaming. As if HE felt like his skin no longer was beautiful, no longer belonged to him. And I held her in my arms as she bawled after giving the police her statement. And she did the same for me.
And I met a woman a year ago in a paint store and she had a service dog and I asked what the dog was for and it turns out that she had been so brutally raped and abused in her life, that the dog is literally trained to keep men away from her.
And Iâm so FUCKING SICK AND TIRED OF THIS WORLD WE ARE LIVING IN. How many rape victims eyes have I already looked into? How many more will I? And how many more friends will I hold while they shake? Because I donât know how many more I can take. And who the fuck still has the nerve to make rape jokes? And⌠Something just has to change. Please, someone just start being that change.
-16 year old girl
Did I reblog this already I dont care
I want to read your fanfic of RnM Freaky Friday, but i don't found it :'(
https://archiveofourown.org/works/15388857/chapters/35713977 :)