ablueboxandabentley

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we could go for a picnic

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surprise flowers for spring!

(he's NOT a romantic though. those flowers bloomed too early and got what was coming to em)

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Crowley referring to Gabriel, Michael, and the others not as "angels" but as (the honestly more accurate) "angelic entities" in front of Aziraphale is such a wonderful bit of flirt.

Crowley very deliberately not using "angel" to describe anybody else as a nod to Aziraphale that Crowley's romantic pet name for him is a word that he sees as belonging just to Aziraphale is really sweet.

Romancing his angel and shading angelic entities have always been the twin passions of Bildad the Shuhite.

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blame the angel. those were very clear instructions, after all.

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A very long meta explaining why the confession scene in Good Omens is the best that has ever been written and performed on screen

First of, the scene begins with two different realisations that makes each of them believe that their dynamic will significantly change (Crowley wanting to confess his love and Aziraphale wanting to break out the news about heaven). This, you can see, creates an unprecedented shift in their energy, makes them super excited (Azi) and super nervous (Crowley) to break the news to one another. And despite the two matters being drastically different, when Aziraphale begins his revelation we don't get the Miscommunication trope where Crowley listens to the offer and passively retreats back his emotions. No. He is steadfast in his resolution, in his love for Aziraphale.

And that right here is king attitude no.1, because even if Aziraphale just threw something so godforsaken on him, he won't allow himself to be cowardly or let go of the one person he loves more than eternity. Crowley still bares his heart, still lets it all out, because he will not lose Aziraphale in his naivete of still believing that Heaven is good and Hell is evil. (I write this with supreme detachment of my own beliefs lol) He tries to make Aziraphale understand that sides didn't do them any good the past 6000 years, that the only solid foundation they ever had was them, and that Crowley would rather have them than have everything.

Now you see here a moment of disbelief on Aziraphale's behalf, because he doesn't understand why Crowley would refuse going back to heaven with him when all Aziraphale remembers of Angel!Crowley was how utterly bright his eyes shone when he lit up the stars and surely Crowley must miss that too? He wants the same thing Crowley is saying, just in a different dimension. The “I can make a difference” immediately changes to “We can make a difference” because that's all what’s ever been for Aziraphale; them changing the small engines of the world according to their partnered will. He is genuinely benign and not ill-intentioned when he says “Nothing lasts forever”, because he truly wants a better life for them, a better existence. And that's when it gets better: Crowley has his walls back up, he's walking away, because he can't bear that he was never enough as he is for Aziraphale. That he was never worth reciprocation.

The way you hear Tennant's voice breaking when he said “And we spent our whole existence pretending that we aren’t”, is the perfect reflection of how Crowley genuinely despairs the time they lost and wouldn't have any more of it. And even with how bare and raw he's feeling with revealing all this, he still goes on. He still tries to tell him and I would like to spend our whole existence together, but struggles and struggles because he's strung wide open. But he keeps trying.

But Aziraphale doesn't let him leave.

And that's when it gets reaaally interesting. Aziraphale's expression then turns from sorrowful desperation to rageful desperation, because he's baring his heart and Crowley is walking away from him. Their solid ground is completely shaken when he says “I don't think you understand what I'm offering you” because he's trying to be subtle about his love for Crowley and still direct as much as he can, but Crowley responds with a condescending “I think I understand a whole lot better than you do” and if this isn't peak human beings in their arguments, I don't know what is. Because we all think we are so misunderstood every time we get into an argument with someone we love, and we absolutely despise it when we feel patronized, so it's no wonder Aziraphale bitterly says “Then there's nothing more to say”, because if Crowley understands, truly does, then he'd see right past his fear to how much he loves the ground Crowley walks over.

And that is king attitude no.2, because he doesn't want Crowley to leave when things are strewn all over the place that they don't know where they stand. All Aziraphale ever wanted was for them to stand on the same ground. He asks him to come back to him but hides it by finishing it with “to heaven!” because the whole conversation is going too fast for him, and he's undergoing a religious crisis of sorts that does not end in 6000 years, yet even so he still doesn't want to lose Crowley because he's everything he has and he can't do it without him and “I — I need you!”

And on the other hand I don't believe Crowley truly meant to be patronizing, but in a desperate last attempt he wanted to make Aziraphale understand what he is trying to say, what he spent his entire eternity feeling for Aziraphale, what Aziraphale would be giving up if he goes to heaven. What their life sounds like with no nightingales.

“You idiot, we could've been.. us” is the very culmination of love confessions. It took every single emotion and equated it. Tennant's delivery of it was unsurpassed in the way that it truly covers everything. And the way he grabbed Aziraphale, not entirely lovingly but desperately and angrily and, honest to God, awfully, is the reason why their kiss is so perfect. No queerbaiting, no beating around bushes. It is raw and sad and giving and agonising. Crowley wants to say see what you're giving up? See what we can have? And all Aziraphale thinks is how could you lay this on me now after everything, after every chance we could've been something, after me loving you from the first time I've met you. He's angry towards himself too, because nothing he can offer Crowley will be good enough that he chooses him instead of his choices. Sheen's choice in making his character grab Crowley's shoulder and let it go and then grab it once more in desperation is so unexplainably perfect of how much Aziraphale wants to hold onto Crowley.

And when Crowley lets go of him, not the other way around because of course it is Crowley who must let go and detach from the utter pain that pierced his heart, you can see his expression being one of defeated longing. He sees all expressions passing across Aziraphale, sees how torn apart the other man is, too, and awaits just a semblance of anything they could work with. But instead, Aziraphale's face closes, and he tells Crowley “I forgive you”, and Crowley thinks this must be his second falling, because he's never felt more pain. “Don’t bother”, he says, yet still waits for Aziraphale outside and doesn't leave until Aziraphale has left him. Because in the end, Crowley would always be there for Aziraphale, even if he doesn’t feel worthy of it.

But in the back of his mind, Crowley isn't choosing the same. Instead, Crowley's choosing to run from something that no doubt will rebound in their faces. They are angels and demons of heaven and hell, how could Crowley expect they could run and hide without being a repercussion later on? At least what Aziraphale is suggesting ensures that they will have a high position of power, enough to make them together, enough to make them happy, but instead, Crowley is walking away.

And that, my beloveds, is why eternity will remember this scene.

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i think about how Mickey left Rose alone after the explosion at her work. and about how Mickey didn't help Rose save London from plastic monsters.

and suddenly Rose's question in Cardiff, addressed to the Doctor, "We'll go down fighting together? Won't you run away? Won't you leave me alone? I won't have to fight this by my own?", gets a whole new meaning.

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when the Doctor goes to the Powell Estate on New Year’s Eve as he’s dying, he asks Rose what year it is. all of the other visits were so calculated. he saves Mickey and Martha on a distant planet, just in the nick of time. he swats Luke out of the road before a car comes. he goes back in time and finds Geoffrey Noble, borrowing a quid, and gives Wilf a winning lottery ticket worth millions. he caught Donna’s wedding, just as she stepped out of the church.

But Rose. Oh, with Rose.

the Doctor says: “what year is this?” because he doesn’t even know.

do you think he just jammed his hands into the telepathic circuit as his body failed? do you think he just dreamt of her, desperately, the one face he was dying to see? do you think he hoped, prayed, that somehow he’d end up on her doorstep?

and the he’s in an alleyway full of snow. in London. and he knows that building, knows those stairs. and it’s finally snowing, for real this time. and he sees her, doesn’t even mean to speak to her, too afraid of timelines and paradoxes as putting her at risk…

but he’s in pain, and he grunts, and Rose—always ready to help someone in pain—turns around.

and the Doctor says: “what year is this?”

and when Rose says it’s 2005…oh, how his face lights up. It’s all ahead for her. And for him, too. I bet—he says—you’re gonna have a really great year...

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my roman empire is the fact this hug isnt in the episode

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If you ask me it is, in fact, very meaningful that the 9th doctor took Rose to see her planet get destroyed on a first date and the 10th doctor took her to see it rebuilt

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EVERYTIME I READ THIS IT KILLS ME

#passing awayyyyyyyy

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I'm rewatching my favorite Tenth Doctor episodes, and I'm shocked by just how alive he was back in season 2, before he lost Rose. He was sunshine and laughter and finding delight in absolutely everything. He was still haunted by the Time War, but it didn't threaten to consume him the way it had in season 1. It's not that he was always happy. There were times when he became vengeful or melancholy, but those were the exceptions rather than the norm. His default state was a kind of wild excitement, ecstatic simply to be existing. When he lost Rose, he lost that. That spark, that awe of life, even that smile, all gone. Oh sure, there were moments when he seemed to get it back, and as the seasons progressed he became less miserable and started to live more, but he's never exactly the same. He never fully regains that reckless, unfiltered joy that he had back in season 2.

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rose tyler visiting home wearing tshirts from artists and tours that havent happened yet or tv shows that dont exist yet and everyone thinking she just has weird obscure music taste and is rly weird. its 2006 rose tyler walking down the street and everyone who glances at her shirt is thinking ‘who in the fuck is olivia rodrigo and where did this girl get a 2024 tour shirt’

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anyway, they're going to break down the barriers of the ghost world and maddie is going to travel the world with her ghost husband wally

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kinda a subversion of the typical virginity/death trope in horror. maddie couldn’t come back to life until she had sex

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He was supposed to make her pancakes forever I'm sobbing

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things wally would Never Do if presented with his exit door :

go through it and move on without saying goodbye to charley and rhonda.

things wally Would Do if presented with his exit door :

find a level of peace knowing it means he can move on.

work on helping rhonda find her peace in a way she hasn’t been able to achieve with mr. martin.

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In S1 E1 God says "It starts, as it will end, in a garden". We saw the start, in the garden of eden. Season 3 better end in a garden, next to their cottage in the South Downs.