#//and also 'I understood that!' '... I understood that reference' will literally be one of the best things

[astonmartinii]

copycat | oscar piastri social media au

pairing: oscar piastri x fem reader

they say imitation is the sincerest form of flattery, but really it's just annoying

MASTERLIST | TIP JAR

note: sorry to all of the chloes of the world, i just chose a random name!

f1tea

liked by user1, user2 and 27,305 others

tagged: yourusername, chloereed

f1tea: SHE STRIKES AGAIN! y/n y/ln, oscar piastri's girlfriend, recently changed up her style with some bangs and surprise, surprise chloe reed shared her updated look just days later. then to really pour salt in the wound, reed posted yet again in mclaren merch. will she ever give up?

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user3: BRO YOU COULDN'T HAVE WAITED AT LEAST A WEEK?

user4: i think all subtlety was lost when she copied a literal TATTOO

user5: the way it's y/n's tattoo dedicated to oscar as well...

user6: at what point do we get a restraining order?

user7: the day that girl ends up in the paddock we should let y/n fight her with no consequences

user8: this has been going on for so long i feel like y/n has a lot to unleash on her

user9: at this point i think all of us y/n fans should be able to get their lick in

user10: i'm new to f1 can someone explain this lore to me? (srs)

user11: y/n and oscar have been together for nearly four years now, they got together when they were like 19. this chloe reed girl went on one date with oscar when they were 17 and now copies everything y/n does to try and get his attention? like down to haircut and tattoos ... it's kinda crazy and y/n has made some references to it but like we're nearing like the third year of this so i think she might snap soon

user12: it's even got to the point where chloe has like started talking with y/n's accent? she has a very obvious accent so like it's INSANE

user13: and to think all of this over a single date SIX YEARS AGO

user14: on a brighter note - y/n was MADE for bangs they look so fucking good

user15: obviously she should stop but if there's anyone you want to look like, it would be y/n

user16: at this point is it even over oscar anymore? or has chloe lost herself to journey to BECOME y/n

user17: the fact that she still camps out under all of oscar's posts and constantly posts in mclaren merch

user18: and don't even get me started with how she's always in the comments of oscar's sisters' comments

user19: someone needs to get nicole to put this girl on blast

user20: remember before elon took away public likes that mark went on a liking spree about chloe being a lil weirdo

yourusername

liked by danielricciardo, logansargeant and 1,209,566 others

tagged: oscarpiastri, landonorris & maxfewtrell

yourusername: summer breakin' with my boy (and his boy)

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user24: MAMA THERE'S A BITCH TRYNA BE JUST LIKE YOU 💜

user25: i unfortunately think she's very aware of it

oscarpiastri: i know you love me because you didn't get annoyed about THEM gatecrashing our couples getaway

landonorris: what if we are a couple HUH???

oscarpiastri: max literally has a girlfriend?

landonorris: ur so close-minded osc

yourusername: i love you osc even with these little stray cats you've picked up

landonorris: did we or did we not organise a super romantic dinner for you?

oscarpiastri: i organised a dinner and you two are so fussy that you left to find some chicken nuggets?

landonorris: therefore giving you a romantic evening on the water?

yourusername: you fell in the water trying to get back on board from the tender and i had to jump in and save you after a fish touched your foot and you began to have a panic attack

landonorris: god you do something nice for people and all you get is SHAMED

mclarenf1: you nearly drowned ???

user26: is chloe going to attempt to drown someone so she can claim she also saved an f1 driver

user27: @georgerussell63 alert the GDPA - NO WATER !!!

georgerussell63: understood 🫡

user28: has it not gotten to a crazy point now that we're warning drivers that this crazy girl might DROWN them ???

user29: at what point do we put oscar and y/n is witness protection

user30: the day she manages to get in the paddock me thinks

charles_leclerc: i see our invite got lost in the mail?

yourusername: please refer to whatever the fuck was going above your comment

charles_leclerc: that you're a victim of identity theft?

yourusername: we been known, but BEFORE THAT

charles_leclerc: oh. you should've let lando drown

landonorris: ???

oscarpiastri: i think that might have gotten me fired?

yourusername: no more papaya rules?

chloereed

liked by user31, user32 and 11,045 others

chloereed: summer breakin'

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user33: oh brother this guy STINKS

user34: i am feeling sufficiently creeped out on the behalf of y/n and oscar

user35: i really don't understand her game here though? does she expect oscar to see this and actually mistake her for y/n and leave y/n for her?

user36: at this point i think she's lost in the sauce

user37: also oscar is hilariously down bad for y/n like he could probably recognise her via vibrational field he would not fall for this cheap imitation

logansargeant: this ain't it btw (it's never been it)

user38: not logan tapping in

logansargeant: who gon check me boo? i ain't got a job

chloereed: i don't know what you're trying to say, but i don't appreciate you spreading misinformation and hate

logansargeant: you have literally copied everything about my best friend down to her sentimental tattoos and you've essentially stalked my other bestfriend for nearly seven years ?

chloereed: it's not stalking if i know i'm what he really wants? she's the imitation of me

logansargeant: you like need help

user39: GO LOGAN

user40: bro has been let of the leash

user41: tbf when you think about it, logan has been friends with oscar for years and by default friends with y/n for just as long so like he's probably seen how this has effected them personally

user42: i don't really see how this is such a big deal, people try and imitate celebs all the time ?

user43: i think it's because she knows at least one of them personally and is very viciously pursuing oscar

user44: also there has to be an aspect we don't know because i don't think logan would be publicly taking her on in the comments if it weren't a lot worse

user45: also ... like it probably feels like shit as a person generally to have everything you do copied and not even get a tiny bit of credit

f1

liked by danielricciardo, patooward and 1,784,039 others

tagged: charles_leclerc, maxverstappen1 & oscarpiastri

f1: we're ready for you monza

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user46: OMG IS THAT?

user47: i'm being so for real y/n needs to fight her

user48: OSCAR RUNNNNNNNNN

landonorris: do i need to inform the legal department?

yourusername: you might want to give them some sort of heads up

chloereed: why you afraid i'll steal back my man?

yourusername: no i'm afraid i'll get hit with a manslaughter charge

chloereed: that's a threat - my lawyers will be hearing

yourusername: tell them bitch, oscar would still choose conjugal visits with me over ever being with you

user49: came for the fast cars, staying for whatever this drama is omg

user50: i once went on a reddit deep dive about this drama where they compiled all the evidence and holy moly this confrontation has been a long time coming

user51: the best (or maybe worse) thing abotu all of this is that her claim of being with oscar first and dating him when they were 17 is based on one 'date' where is was just a joint ball between their schools where there was a compulsory dance in which they were partners

maxverstappen1: yo this shit is insane

user52: aren't you meant to be in the car in 20 minutes?

maxverstappen1: drama waits for no one @yourusername i got ur back

charles_leclerc: at this point i will mobilise the tifosi @yourusername

yourusername: i can handle her, i might just need some money to fix my nails

oscarpiastri: please do not fight her, she's not worth it

chloereed: she won't fight for your love but i will

oscarpiastri: can you just fuck off

user53: i fear she's pushed them over the edge now lol

user54: i'm glad they're both letting her have it in the PUBLIC INSTAGRAM COMMENTS <3

f1tea

liked by user55, user56 and 34,982 others

f1tea: she's finally done it? chloe reed was spotted in the paddock at monza. will we finally see a confrontation between the two girls?

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user55: i FUCKING hope so

user56: if i were y/n you'd have to hold me back i'm being so serious

user57: i'd be in oscar's mclaren so fast and be driving down the pit lane to look for her

user58: i'd already be in an italian prison sorry not sorry

user59: y/n needs to give me lessons on being this graceful

user60: at this point we should just have an undercard for the race that's these girls tussling it out

user61: at this point i think logan, charles and max are ready to jump in

user62: charles and max being in the comments just before FP getting the scoop is so insane i love them

user63: imagine getting these f1 drivers this pressed over an aesthetic

user64: if you think this is just about an aesthetic you're just being dumb on purpose

user65: but like y/n is just a girl with bangs and a basic look, u could say like half of the female population are copying y/n

user66: but like please look at the actual evidence, it's way deeper than bangs babe

user67: also the TATTOO WHY ARE WE NOT TALKING ABOUT THE TATTOO

user68: whatever happens y/n will always be better than me

user69: she needs to bash her publicly if she won't beat her physically lol

oscarpiastri

liked by charles_leclerc, yourusername and 3,984,022 others

tagged: yourusername

oscarpiastri: please leave us alone, you'll never be her and i don't want you to be

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user71: STUNT ON THEM QUEEN

user72: a man who vocally defends you >>>

yourusername: love you bby

oscarpiastri: if anyone wants to take me away from you they'll have to defeat me in combat

yourusername: not saying i want that but you would be so sexy in full armour

oscarpiastri: for you... i would wear anything :3

user73: bro said his piece and immediately went back to simping like a pro

user74: if he doesn't offer to wear a suit of armour in the bedroom is he really in love with you?

user75: i guess we're not getting any dad!oscar content any time soon

landonorris: ???

user75: it's a joke about protected sex genius

landonorris: OH

chloereed: that's not what you said then oscar

oscarpiastri: THAT WAS SIX YEARS AGO IN A CONVERSATION I WAS OBLIGATED TO HAVE GET A GRIP WOMAN

oscarpiastri: YOU WILL NEVER FEEL SATISFACTION IN YOUR LIFE IF YOU CONTINUE TO COPY EVERYTHING SHE DOES AND REFUSE TO BE YOUR OWN PERSON

oscarpiastri: so PLEASE FOR YOUR OWN SAKE GET YOUR OWN LIFE AND LEAVE US ALONE

oscarpiastri: oh. i'm blocked

oscarpiastri: slay

user76: so ... oscar... when can we get this level of reading on the radio

yourusername: don't make him do community service :(

user77: but him being sassy is a service to the community

yourusername: you make a good point

yourusername

liked by maxverstappen1, charles_leclerc and 2,045,677 others

tagged: oscarpiastri

yourusername: you can be a copy cat all you like, but you'll never beat the original

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user78: i am sorry i exist at the same time as you

user79: i know this a whole love post but i have a confession, i am IN LOVE WITH YOU GET RID OF THE AUSSIE

oscarpiastri: 🤨

charles_leclerc: this was a whole saga, i'm happy it's all worked out for you guys but this was hella entertaining - when can we do it again?

yourusername: never again hopefully

charles_leclerc: boring!

yourusername: it literally got to the point that you offered to leave your car keys in a 'special spot'

charles_leclerc: well obviously i don't mean to THAT extent but i just want a bit of drama, let a girl live

user80: shit stirrer charles leclerc i love you

user81: we should've known he was in the trenches with this, the inchident knows no bounds

oscarpiastri: i love you and i'm sorry this happened. but you do slay so i could see why people would want to be you

yourusername: i knew me with bangs would be too powerful 😔

oscarpiastri: you're the most beautiful girl in the world no matter what

yourusername: ugh you have me blushing pretty boy

landonorris: cringe

yourusername: maybe if you copied oscar's flirting techniques you'd actually be wifed

landonorris: i thought we just established that copying is bad

yourusername: trust me, you need the help

user82: i'm glad we've returned to peace with the lando slander

user83: they're power is insane

maxverstappen1: can i say helping you come up with this caption is my community service

yourusername: fuck yes

maxverstappen1: stunting on hoes is very much in the public interest

fin.

note: i'm back in a rhythm !! this is not so subtle so i'll expand here: please please please do not steal my work, idc if you change the driver, if you're blatantly stealing my ideas and concepts - to the point that people are messaging me to make me aware, please don't! or at least credit me rather than pretending this a completely original thought. mamma mia didn't bother me as much because it's obviously the musical's idea, but omg undercover verstappen? big reputation? and guilty as sin - down to the series name? i haven't made any posts about this but know it's very much bothering me and if i see anymore i may have to put it on blast. thank you all for reading, soz for the rant but this has been going on for months.

[velvetvexations]

Even putting aside what a ridiculous comparison that is, I need it understood that the primary way transradfems engage with "material reality" is through movies from the previous century.

It's hypervisibility vs. invisibility. Trans women were openly mocked and trans men were ignored or just subsumed into a range of experiences for cis women. That's changing now that trans men are getting more spotlight than they had before, although it's still tilted in those directions.

But there was genuinely nothing transphobic about Chihiro's story and to say there was you have to prove his model was trans women and transitioning children when there is an extremely well-established category of AMAB people who present as girls in Japanese culture that is infinitely more talked about in pop culture over there. You have to insist upon the fact that he was ever connected to people who sincerely identify as girls in the first place. If this was America, it'd make more sense, but it is actually just genuinely racist to be told all that and still be like "well, but it makes me think of trans women."

This is why transradfems hate me, too. A trans woman disagreeing with them breaks their rules.

Especially the person who cannot stop fucking bypassing my block to screenshot my blog and then justifying it by claiming I do it, even though I fucking deleted those posts after she complained and have not mentioned her a single time since unless she did first.

Here's the thing: I DON'T THINK NOT WANTING TO ASSOCIATE WITH AGAB LANGUAGE IS UNREASONABLE AT ALL! But it's fucking projecting as fuck to say that people who don't like TMA/TME language must simply want to cling to AGAB. I mean, holy fuck, right? That's not what's being argued dumbass - but she can't think of any other way to divide trans people based on AGAB without referencing it in some way, so her ideal replacement is TMA/TME, that's the two kinds of trans people that exist, you're not AMAB or AFAB you're TMA or TME, this is so fucking masks off it's wild that other transradfems aren't mortified by her saying the quiet part out loud. This should just completely obliterate every trace of protest when someone points out TME is in practice exclusively used to refer to AFAB trans people and no one else ever, unless what she's actually saying is that AFAB trans people are so close to cis women that they might as well just by default be called the same thing and have no other way of identifying themselves when you talk about categories of trans people and their experiences.

But it's so intensely psychologically revealing. I don't think she's ever been misgendered a single time in her life. I don't think she's ever had even the slightest actual barrier to hop in her quest to live as a woman, because this oversensitivity where someone acknowledging transphobes see us as our assigned sex counts as them misgendering you? That's just not the behavior of someone who actually deals with these things in the real world. Or even online. Again, I get pedojacketed and threatened with actual cancelation from my actual career because I engage with actual TERFs. These people never do anything but moan about tee-em-ees misgendering them by discussing how the enemy perceives us. And she in particular is the most desperate to shut that out, because that is the only reminder there could ever possibly be a hypothetical obstacle to her claiming her girl card. I have zero doubt she lives in the queerest city on the planet and if she didn't have internet she would literally be unable to even conceive of transphobia as a concept. And she fucking hates me for not just being a trans woman who agrees with the transandrobros, but also personally identifies with my AGAB. The implication that it's possible for a trans woman to be okay with the term "male" shatters her self-esteem. That is the extent of "misgendering" she has ever faced and ever will face. Me identifying the way I do terrifies her, I have to be objectively wrong about claiming identification with my AGAB because she copes with insecurity by imagining a world where TERFs are right but instead of biology everyone's soul is either Male and Female and you can only be one or the other. Gender can't just be people figuring out who they are and the ways they want to express themselves and live their lives, that's not real enough for her, she has to be Trve Fymyle the way TERFs go on about, except instead of centering around wombs it's this weird vaguely spiritual concept that she forces everyone else to fit into because if they don't it implies her framework isn't the tangible reality she so desperately needs to feel valid.

And that's why she "needs" TMA/TME, because she reasonably wants to talk about the experiences of people who share her category but doesn't want to identify as anything that references what those experiences fucking are (e.g. having been assigned male at birth). And again, that's FINE. I GET THAT. THAT'S UNDERSTANDABLE. I CAN SEE HOW THAT MAKES YOU UNCOMFORTABLE. But that doesn't mean TMA/TME doesn't also have issues and I'm sorry if she's having a hard time coming up with something else because it's difficult to navigate the inherent paradox of wanting to associate with something that unfortunately makes her feel bad to associate with it, but she needs to pick something else, and not say "weh the TMEs are making us change our language" as though (a) transradfems aren't telling trans men what language they can use for themselves and (b) it's impossible to come up with terms that don't explicitly make claims about the experiences of others and 100% defines them by suffering less.

And isn't it strange how other transradfems are insisting they have to call themselves CAMAB and CAFAB, but THEY aren't clinging to AGAB language? Weird, right? I mean there is a group of people insistently arguing that it is simply paramount that we use AGAB language, but they're perisex trans women stealing it from intersex people so I guess it's fine?

But I don't CARE. I don't like her and I don't want to look at her stupid blog and I sure as fuck don't want to report on it. I just wish she'd stop talking about me. I literally just want her to stop block evading me and telling people my identity revolves around wanting to suck up to TERFs*. I do not talk about her except when she talks about me. AND I'M STILL NOT EVEN NAMING HER.

When she complained about me screenshotting her posts, I deleted them. They got zero notes. Her screenshots of me have hundreds and she keeps taking them because she's fucking obsessed because she can't feel like a girl if someone else identifies a little differently than she does. I don't even screenshot other people if they have me blocked but I see other people debating their takes, I make a post that references no one with unspecified prompting. And I've never done even done that with her, not only because she keeps baselessly accusing me of harassment, but because she infuriates me on a level where I just sincerely do not like seeing her fucking content in any way for any reason.

God I fucking hate radfems.

*which she happily admits to knowing is a lie but is like "yeah well I say she's mean so I'm going to keep deliberately fabricating falsehoods about her"

Thank you. <3

I have enlightened another soul!

If you asked these people, ten times out of ten they would say detransition and rape are the worst things that can possibly happen to someone and murder is no comparison, but they'll see trans men talking about their sexual abuse to be like "wow so lucky you guys just have to LARP The Handmaid's Tale, but we get KILLED."

And it's like. Okay. But fuck off, though? It's fine to personally see murder as worse and to grieve more over that, ig, it's like, whatever, but to openly state that it's a PRIVILEGE to be raped and detransitioned makes my brain melt. It's like they are physically incapable of not putting down other trans people. It is the one single area of activism they engage in. That is the war they are waging. They don't give a fuck about trans rights because they live in privileged areas with supportive families. Their battle is with the TME trans people on social media.

lolllll

"I hate how misogynistic Velvet is, she's everyone's cumrag"

^actual thing actually said and believed by the TMA/TME tankies

Before anyone accuses this anon of saying transradfems are engaging in male behavior or whatever, I'll note as I always have that they're just as sexually predatory and entitled to the bodies of others as TERFs are. That is the actual comparison being made. The worst trans women are identical to the worst cis women. Diversity win.

[seeminglyseph]

Every now and then I'll see a critique like "they sure just shout their feelings at each other"

And it's like... a shounen fight anime for teenagers.

Which is not to say that the genre is not *capable* of subtly but like. Also, sometimes, when your target audience is teenage boys who are specifically looking for punches, like... sometimes, you put the text in the text on purpose. Sometimes, you consciously choose to have the hero geadbutt the power of friendship into a guy, and they talk about loneliness and fun and leadership.

And also sometimes. Characters don't have the vocabulary to describe their emotions in a way that sounds "valid." Sometimes that's characterization in itself, the lack of vocabulary to describe emotions and motivation. Honestly, it's wild how often people will just take characters at their word when they describe their feelings in a shallow way when like... all the imagery is like... clearly depicting something else. Like, say.... Sometimes, a character just says their bored, but like... literally, all the imagery involved clearly depicts a pretty deep depression or personal crisis. But that character has no words or frame of reference for how to discuss those feelings, so he just says he's bored and lashes out in increasingly erratic ways?

Yeah I might be talking about Wind Breaker again Tomiyama Choji gets done so fucking dirty by people what the fuck is up with so many videos I have seen just fucking going "what he did all this because he was bored???"

Like. No. Did you pay attention??? He lost his purpose, and he lost his way, and none of his friends were willing to stand up to him or stand with him, so even though he was the leader and he had a gang, he was entirely alone. But he didn't have the ability to find what he was missing, or name what he was feeling. So he didn't know how to ask for help.

He's as much a feral child as Sakura and so works as a first arc foil for him, a character who seeks power and leadership without any goals or intentions behind it besides "Freedom." Especially since Choji is shown not fully knowing for himself what freedom is or would represent. But for the types of people who end up in feral street gangs? And for a character that is a foil to Sakura and is also... very speed based in his fighting style. Freedom makes sense for something that Choji would want.

But it seems like a promise he was given without much intention of him receiving it. I don't really think he was supposed to overthrow the boss of his gang and become the leader... though that's some rampant speculation.

I dunno man. I know part of it is like. O ly one season is out, so everyone is still not sure what to think about it. And that's fair. I'm still like... confused about multiple angles of the series. I've read... a decent chunk of the manga, and I'm still like. Pretty curious about how the universe works, honestly. Maybe the fact that I clocked how Choji held his chopsticks and like. Multiple puzzle pieces fell into place because I have been loving the weird little details Wind Breaker will throw in. Either this series tells a very intense story through background details and character designs, or one day, I will be made a very large fool of.

None of this is an organised enough thought to be worth anything but like. I know this is probably not controversial among Wind Breaker *fans*, but like. I keep like... seeing people with this opinion in videos and stuff talking about Wind Breaker that seemed to have not connected and not understood.

Which does make me feel a little like a "you just don't *understand* man." But like. If you really felt like Choji acted the way he acted because he was bored and wanted to have more fun you like... *didn't get it* or were being purposefully disingenuous because you personally disliked the portrayal.

[celestiarambles]

hi welcome once again to celestia trying to defend cc women for the nth time

i don’t understand why some ppl hate asal. apparently she… *checks notes* betrayed jack?

(this trope is referring to jack in cc tropes)

and how did she “betray” jack apparently?

1. she killed a man (oh no! the most heinous crime in cc!)

2. she kept a lot of secrets from jack

3. and she broke up with jack

apparently asal’s an evil person for… doing her job?

she didn’t kill a man just because she wanted to. mossad ORDERED AN HIT ON THAT MAN and tasked asal to do it. she didn’t get away with it because she’s “evil”, she got away with it because mossad had an agreement with the international court. and while jack was upset for a bit, EVEN HE UNDERSTOOD what asal did and forgave her. she is shown to value her job at mossad very much and she’s been doing this for a while now, she wouldn’t go “but what will jack think about this?” every time mossad orders her to eliminate a target

‘she didn’t love or even care about jack!’ SHE DID, THAT’S WHY SHE KEPT SECRETS FROM HIM!! it’s why she prefers to separate her work from her personal life. and eventually she found out about ripley and mossad’s involvement in sombra and initially thought the whole bureau was involved (esp since she implied she knew about the whole mole situation even before the bureau found out about it!)

and that’s what caused the downfall of their relationship. because a.) jack was immature at the time and he didn’t respect asal’s wishes to stop interfering with her work, b.) because she started to distrust jack and the bureau, and c.) because she didn’t want jack or the people jack cared about to get hurt with her knowledge of the mole. AND ALL OF THOSE REASONS WERE TOTALLY VALID!!

their relationship on s3 still ended on amicable terms anyways, so i don’t understand why some people hate asal and treat her like a criminal when she was just doing her job

ALSO ALSO bonus: while searching for the above trope i found this listed on asal’s page and i was like HUH???

how tf is asal dumb. she’s literally one of the smartest characters in cc, hell she was SO AHEAD OF EVERYONE to the point that she knew the existence of the bureau mole, who the mole was, and ripley and mossad’s involvement with sombra. also, she knows enough chemistry to the point she managed to poison jack just enough to incapacitate him but not kill him. WDYM JACK KNOWS MORE SCIENCE THAN SHE DOES???

tldr: the hate on asal is wild. SHE DID NOTHING WRONG!!

[psychomusic]

oc time again! + her town & culture (heavily inspired by pre-roman italic populations)

she is suri sauthon (later suri laran, after her marriage). her story is linked to my swtor imperial agent, but most of her life for like. the one year away where she meets him, is spent in a town in the mountains of mirial.

despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.

note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]

originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.

this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.

BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).

later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.

years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)

[sonknuxadow]

sorry i dont really understand the hyping up the mario movie as this incredible masterpiece of a movie or the best video game movie ever made i finally watched it recently and i just thought it was ok. not Bad there were things i enjoyed about it. but not best movie of the year or best video game movie that will ever be made and can never ever be topped idk what people are talking about there

[boyczar]

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

[lovelykhaleesiii]

Hello!!! For the requests, can I request one for Aegon II? Pregnancy kink and maybe some family fluff with reader and Aegon's kids?

Divine Honour.

PAIRING: King!Aegon ii Targaryen x fem!Wife!Reader

WORDS: 1,515.

WARNINGS: domesticity, references of p in v sexual intercourse, pregnancy kink/breeding kink, lactation kink, breast play, swearing, possessive!Aegon ii, slight exhibitionism.

A/N - literally anything that involves Aegon with kids, domesticity and breeding/pregnancy kink is my weakness... I am a whore like that. hope you enjoy, I've combined these two requests :) also dedicating this as a little gift to you all in honour of the King's bday!!!!

"Father! When can we choose an egg for the babe? Meraxes has laid a fresh clutch!"

"How much longer must we wait for this babe?!"

"B-Bub!"

The uproar of their high-pitched, eager voices left Aegon defeated, as he swiftly picked his youngest in his bulky arms, lifting the little princess onto his seated lap, where she settled herself comfortably. Babbling incomprehensible sounds [as she was still yet a babe herself, only able to muster a few coherent words] and idly pointing at your round, swollen belly. Your elder sons on the other hand, twins nonetheless, found themselves encircling their father like hounds, pouncing at his sides, desperate for answers, as you waddled yourself over to the edge of the royal bed, where they outnumbered Aegon.

"How many times must I tell you this, boys? When the babe is ready to come, it will come! Any day now, you'll have either a baby brother or little sister that you can dote on and protect for hours on end... Is that understood?"

The silver-haired boys both ecstatically eyed each other, giddy with excitement and anticipation for the newest arrival into the family, refusing to stand still. Turning towards you, your youngest only a few minutes apart from his elder, Rhaego, warmly embraced your side, careful with his grip around your protruding belly.

"You will find us when the babe is coming? Promise us, mother, that you will!"

The streak of worry tinged across his small, growing face, was enough to melt your heart. He was your exact twin, with some of Aegon's Valyrian-esque features. A smaller boy than his brother, and far more emotionally attached to you.

"Of course, my love. I will need you by my side, okay?"

"Now the lot of you, off to bed! Your mother needs her rest-"

Aegon's deep, stern voice clouded the room, before being met with the sighs and sounds of defeat from his twin boys. Gesturing for your lady in waiting, Sara, to make herself present: leading the boys, Rhaego and Aenys, out, as you warmly kissed each goodnight. Your littlest babe remained safe and sound, wrapped in Aegon's arms, desperately trying to stay awake, as she drifted in and out of sleep.

"And this little princess—”

The sudden drop in his tone, speaking in a volume only above a whisper, and far more softer, was enough to prove that your little girl was Aegon's weakness.

"My little Aelora, just doesn't want to sleep. She has far too much fun with her Daddy."

He plants a tender peck on her head, as she brightly smiles up at her father, taking much of his likeness, before rubbing her small eyes with her tiny fists, edging closer to slumber.

"Here—Here, she just needs her mother's boring touch to put her to sleep”, you tauntingly exclaim.

In exchange for his amusement, you take the babe in your arms, cradling her above your belly, as you gently sway her, lulling her to sleep. Aegon finds himself walking towards the edge of the bed, as he begins to undress, unbuttoning his tunic. Watching you from a meek distance, he feels a palpable twitch beneath the dark fabric of his pants, feels more tighter than he had noticed moments before. His thick cock stirring with excitement, as he witnesses the surreal vision of you holding his babe, whilst carrying his other unborn child.

"You truly are a divine sight, my love... You've never looked more beautiful than you do now."

His heavy words caught your immediate attention, as your focus pans from the sleeping babe to Aegon, looking rather ravenously at you. Although his orbs a light lilac shade, his gaze felt rather dark and menacing, his plump, cherry lips licked and glazing in the candle light. He looked as though he could devour you right there and then, you were rather familiar with this particular sight of your husband.

"Is that so?" You softly chuckle, turning from Aegon to the silent babe, before resuming your attention once more unto him.

"I do not feel so. I feel I am at my heaviest, Aeg. You honestly do not mean to say I am-"

Pouncing to stand, his heavy and heated footsteps pace towards you, a firm grip tugging at your silky night gown by your hips.

"Speak no more, Y/N. You cannot fathom how irresistible you look to me in this very instance... Put her down, I think she's deep in her sleep now, Mumma."

The firmness in his deep voice, almost a mimic of a growling predator, was an occurrence you saw in court, with your husband upholding his position as King. Aegon had established himself as a formidable man, despite the doubts surrounding his succession. You obeyed his command, gently lowering Aelora into her crib, as you nestled the babe in her minuscule, handwoven duvet.

"Come here—”

Gesturing you towards the end of the bed, his wolfish eyes lingered over your every inch, every detail of exposed skin, his hands wandering in sync with the insatiable lust in his eyes, as though it was your wedding night all over again.

"You think you do not look divine? Carrying my precious babe not only in your arms, but in your womb as well? Do you not think it an honour to carry and bear the seed of the King? Need I fuck you s'more and plenty, my dearest. Swelling you with as many children as your body can take, for you to understand your significance, hmm?"

Thoughtless against his lust-filled words, you hadn't even realised how swift and deliberate Aegon's sensual movements were, snaking his sturdy arms around your swollen, tender body, weak against your husband's touch. His soft lips latched to your tender skin, suckling at the sweet crevices of your neck, feeling your Grace slowly making his way carefully down, towards your busting cleavage, as he sat himself down by the end of the bed, pulling you closer towards him, trapped between his thickly sprawled thighs.

"Does your King not make you feel good? Have I failed you as your sovereign and as a husband, hmm? Need I spoil you more than I have already?"

Candidly unbuttoning the few clasps of your low-cut ivory nightgown, your tender, perky breasts instantly exposed themselves to your Grace, each tit filling with milk in preparation for the royal babe. The wintry, crisp air of the night left your skin crawling with chills, and Aegon's calloused hands, groping at each breast did not numb the feeling at all.

"N-No- Ahh, Aeg—"

"So fucking sensitive, look at you... I did this, I did this to you, you do well to remember that—"

"Y-Yes, y-your Grace," You feebly whimper, one hand firmly clasped over Aegon's broad shoulder and the other tangled in the short strands of his platinum locks: desperate to keep composure, as he taunts your delicate body. Flicking his thumb over the peaking buds of your raw, sensitive nipples, deeply chuckling to himself as he earns a helpless moan from you.

"Your body knows exactly how to take, my beloved. Knows what it is expected of, made to take my seed so fucking well, huh? Look at how steady your belly grows day by day, our babe kicking healthily inside... How these tits swell with that sweet, heavenly milk of yours, hmm? You were born for this, my dear. Made ripe for the taking of the King himself."

Without a second to spare, not even so much for a breath, Aegon's ravenous mouth latched itself onto your breast. His warm, slick tongue flicking at your nipple, suckling fiercely, eager for a drop of flavour. Instinctively your hands immediately drop onto his hefty shoulders, nails digging into the thick padding of his apparel. As you gradually grew more accustomed to the exhilarating sensation, your hands travelled their way back up, busying themselves by tugging and pulling at his silver strands: occasionally even guiding Aegon's head deeper into your bosom, keen to satisfy your King's insatiable hunger.

M-My body at th-the disposal of th-the King... The g-greatest honour b-bestowed. K-Keep fucking me, keeping m-me full of his seed—"

The mouth clasped tightly around your breast, a hand remained groping, kneading at your swollen flesh, whilst his other roamed below, firmly squeezing and palming at your ass cheek.

His stout chest heaving breathlessly, as he regained himself: Aegon's mesmerizingly violet eyes fluttered shut momentarily, before gazing upon you intently, a sly smirk strewed across his handsome face.

"Hmm, that's right, my beloved... We might even populate the Red Keep alone, and everyone will know exactly who you answer to... Everyone shall know that I be the man who fucks you hard time and time again, how well your pretty cunt takes my cock and seed. And when your body shows, everyone will know how willing your body is craving to be full of me. My beloved loves the attention from her King, yes?"

"I do, Aeg."

"And I love you... And the children, even the ones you will bear in time... I love you, just as you are."

general taglist - @succnfuccubus @fan-goddess @malfoytargaryen @bibli0thecary @m1ndbrand @connorsui @elegantsplendour @arcielee @s-we-e-t-t-ea @sahvlren @watercolorskyy @hypnos-daughter-certified @urmomsgirlfriend1 @backyardfolklore @snowprincesa1

Aegon ii taglist - @who-told-you-this-was-butter @f4ll-for-you @jawline-of-steel @daughter-of-the-stars11

credit for divider - @/firefly-graphics

[malereadermaniac]

Boyfriend(s) ~ Bakugo x Male Reader

Both you and Bakugo are in the same class at UA - aged up to be in your 20's Inspired by boyfriend - Ariana Grande word count: 1.4k m!reader (no genitalia mentioned) / FDNI Mostly sfw with reference to nsfw

'Cause I know we be so complicated, But we be so smitten, it's crazy...

It was obvious to everyone that the two of you were literally wrapped around each other's pinky fingers, but no-one understood why you two wouldn't just get together already!

Katsuki was very evidently nicer to you than to others, holding himself back from insulting you and preferring to tease you instead. He'd also clearly go out of his way to ensure that the two of your 'randomly' ended up spending time together; whether that be by making sure you two were partnered up for training or by hanging out in room you like to spend time in

He really likes you. Katsuki can't put a finger on why, maybe it's the way you manage to keep up with him in training, or the way that you hold his face so softly to look up at you as you clean his face with a damp cloth after he gets roughed-up; either way, the man lives to be near to you

On the other hand, you were also clearly infatuated with the blonde, 'sneaking' looks at him whenever you could and always rambling about your aggressive classmate to your friends

The clear infatuation with each other didn't entirely make your relationship perfect though, as Katsuki's way of dealing with his emotions is anything but healthy; which has resulted in pleanty of little fights between the two of you, but none that weren't fixed with a little hate-sex

Your relationship with the man is complicated to say the least, but fuck you two can't deny that even just being in each other's presence doesn't up your heart rates

You ain't my boyfriend, And I ain't your boyfriend...

What people didn't know though, was that you and Katsuki were already acting on those obvious feelings - just not all the way!

As already mentioned the two of you go crazy in the sheets after an argument, but also just after spending more than half an hour together (usually because your touches on Bakugo resulting in him popping a boner)

But it doesn't go any further than that.

Sure, you and the blonde would spend entire nights - staying up past Katsuki's strict sleep schedule - just to make out in each other's arms, or fuck feverishly as you mark each other and kiss; but that was as far as your relationship really went

The muscular man hadn't sorted through his feelings enough to ask you out, and you were too scared to in case you and the explosive man were nothing more than sex for each other

But the two of you were happy for now, sleeping with your limbs intertwined, sharing passionate kisses and spending time together whenever you could really

all that was missing was the label of 'boyfriends', and you could live with that

But god damn did Katsuki catch himself fantasising a little too much about taking you out on dates, PDA with you, or even marrying you! He was absolutely smitten, you were the first thing he'd think about after waking up and the last thing he thought about as he went to sleep

And even though you two weren't dating, you could still feel the blonde try

Random gifts turning up on your desk with vaguely familiar handwriting, his muscular arm just a little tighter around your waist as his spoons you to sleep, and hand-holding when he was absolutely sure no-one was watching

But you don't want me to see nobody else, And I don't want you to see nobody

Now, while the two of you were missing the label, that doesn't mean that Katsuki didn't treat your relationship as exclusive... Which, knowing the blonde's temper, has lead to plenty of jealousy issues and ugly scenarios

It really didn't help that you were one of the most good looking guys at UA; you had the eyes of many guys and girls from all years on you!

Anytime the blonde would see someone try to chat you up or even confess to you, he would light up - literally, the man would start to sweat and his palms would start to combust

But figuratively, Katsuki would explode in anger; which would either lead to some really great angry sex, or the man would storm up to the person you're talking to, which never ended well...

The man has been lectured by so many teachers for starting quirk-fights in the middle of the day just for seeing a guy talk to you - his argument saying that he could 'see them undress you in their mind'

But when Katsuki feels less challenged by whoever is hitting on you (which is usually either a girl or Deku), he will just interrupt with an arm slinged round your shoulder and an evil lookin smirk on his sexy face

What makes up for the muscular blonde's jealous outbursts is how he talks to you after; getting you up against a wall or below him on the bed, your cheek in his rough palm as Katsuki either looks down at you or kisses your neck whilst mumbling about how 'your his' and how 'they don't deserve you' - damn it he was so sexy like this!

Oh and just because Katsuki gets jealous that doesn't mean that you don't too!

Anytime you'd see a girl hit on the hero you would sour in your mood; resulting in Katsuki having to pry out why you were mad at him, which ends up giving the blonde an ego boost when he hears you got jealous

Or sometimes you do intervene, sliding an arm around the man's slutty, muscular waist and interrupting whoever was talking with an 'Katsuuu... I'm bored, wanna go back to my room?' - that usually shuts up whoever was talking to him

You're also quite fond of marking your attractive classmate, leaving hickey's on his neck, lovebites on his huge shoulder's and plenty of scratch marks down his muscular back

And that goes for Bakugo too, the man gets so turned on when he sees the pretty purple marks which litter your neck and body - his possessive side getting stroked so nicely

Even though you ain't mine, I promise the way we fight make me honestly feel like we just in love

Back to your kinda common fights with the man, they're usually triggered by one of two things: Katsuki being a dick, or you not giving him enough attention (Katsuki being a dick)

If you catch the blonde giving anyone a hard time (especially Deku) you will tell him to shut up and then go OFF on him once the two of you are alone

This always ends up in a shouting match between you two, Katsuki's argument usually being 'oh so you give a shit about them??' and your counter argument being 'yes i have basic empathy'

These arguments almost always end up in make-up sex after Katsuki crawls back to you with an apology - and you have seen improvements in his behaviour! Less snide comments to others and more playful banter, almost as if Bakugo cares about your opinions and views

It's hard to distinguish those fights from the other kind - as both usually result from Bakugo being a dick

But, if Katsuki is being a dick to you, that's when you know that he's upset at you for not 'being with him enough'

The blonde wants to seem as anything BUT clingy, but in reality, if he could morph his body into yours to constantly feel you, he would.

If you haven't flashed the muscular man a smile within the first five minuets of seeing him, or if you haven't bushed the back of your hand against his that day, or you haven't looked away and giggled when his eyes catch yours - Katsuki takes that as you loosing interest in him, which he doesn't take lightly

In turn, the blonde will start to throw insults he saves for others your way instead! Or he'd choose to ignore you (which would fail horrendously as Katsuki can't keep his damn eyes off of you)

Either way, it would end in a small argument between the two of you, where the blonde would absolutely refuse to admit that he felt you weren't giving him enough attention

Steamy make-outs and sex always followed though, after you assure the insecure man that you were thinking about him and always want to be near him

Sure doesn't sound like two guys who "AREN'T DATING" if you ask me!

[eightyonekilograms]

I turned off reblogs on this post because it was about to breach containment in a way that looked unpleasant, but I did want to provide one bit of followup for those of you fortunate enough to not be following Twitter drama. You'll want to follow this bit though, because it's really funny.

The second bit is, as Matt says, that because a lot of leading figures in tech have gotten so annoyed at their treatment in the press recently, they've conjured up this theory about how journalists attach tons of status and self-worth to their blue check marks. And Matt is saying, no, this really isn't true at all: the fact that journalists all get blue checks by default is more of an implementation quirk of Twitter and nobody really cares. I have no reason to doubt him on this. So what's sort of funny is that apparently Elon got caught up in the same hatejerk as the rest of tech, and thought that "bluechecks" really did put tons of value on their verified status and could be extorted out of money for it. Which is probably a mistake, and one that's going to cost him literally billions.

At the time I thought this might have been a little uncharitable, but it turns out it was completely correct and, if anything, did not go far enough.

Today was the day that "legacy" blue check marks got turned off, and so now only the people paying Twitter $8/month get to have one. And this is absolutely hilarious, because now suddenly the blue check mark is a strong signal that you support Elon Musk and his Twitter machinations. So it went from being something which was free and had maybe slightly positive "eh, sure, I'll take it" valence, to something which (for most former bluechecks anyway) has strongly negative associations and costs money to boot. So they are, overwhelmingly, declining to pay. In fact, Twitter can't even give them away: LeBron James said he wouldn't pay for a check, Elon offered to give him one for free, and James refused, because the association is now so toxic. ell, em, ay, oh.

And this is absolutely infuriating the Elon fan crowd, because they never understood the indented paragraph above, and really did think that people valued the status of their blue check mark, instead of it being a "eh, whatever" thing that was barely worth it when it was free and certainly isn't worth $100/year. So you're getting deranged takes like this:

You can find thousands of these I'm-not-owned corncob posts, along with even more posts in the replies of people going "no thanks", cajoling and begging them to buy a blue check.

Sociologically, it is frickin' fascinating that this symbol just overnight had a complete valence inversion (and also that, despite this flip, the word "bluecheck" still refers to somebody just as insufferable as it did before).

[vidavalor]

Crepes: The 1.01 sex meta thing

Alright, my romantic and horny murder hornet friends...

...come and get your very requested 1.01-scene(s)-that-shows-that-Crowley-and-Aziraphale-are-lovers sex meta thing.

We'll be getting a bit blush-inducing NSFW under the cut so keep that in mind...

As Fraulein Maria suggests: Let's start at the very beginning... a very good place to start... when you read, you begin with: A, B, C...

...when you speak Ineffable Husbands, the show tells us, you begin with: lunch, alcohol, and crepes...

We're going to do this semi-glossary-style, since those have proven popular and it works well for this. There are some very brief mentions of Satan's attacks on Crowley, for those that would like to know of that ahead of time. Other than that, I don't think any other trigger warnings apply.

"Gentlemen, in your role as the audience, could you, perhaps, give us more to work with?" -- William Shakespeare, 1601, meta-ing for the writers and performers of Good Omens, requesting us to dive a little deeper.

Temptation accomplished.

~~~

Secret language. A language spoken by secret agents for the purpose of keeping the full, true meaning of their conversation hidden by those who might be observing them. Comprised of code words and phrases that contain other layers of meaning beneath the more easily understood surface layer. Difficult-- and, at times, impossible-- for those who do not speak the language to understand it without a key that unlocks at least one word of the language, revealing the hidden conversation beneath the surface.

Key. Additional context that reveals hidden meaning in a secret language by providing understanding of other layers of meaning beneath the surface in a conversation between secret agents.

Example: some bleating goats in 2500 B.C. illustrating for Aziraphale via additional information and context the true meaning of Crowley's words in the scene. Most keys in Good Omens are separate scenes; this one is an exception because it's the origins of their secret language in the first place. This is also a partner scene to the "no nightingales" moment in 2.06.

Partner scene(s). In Good Omens, a scene or scenes which act as keys to other scene or scenes, providing information and context necessary to fully understand the initial scene, which is usually one we saw earlier in the story.

Example: The Bullet Catch scenes in The Blitz, Part 2 in S2 adding layers of context and meaning to both Crowley and Aziraphale with the paintball gun and Crowley giving the office workers miraculous escapes from death at Tadfield Manor in S1.

Crowley and Aziraphale. Supernatural secret agents of sorts, introduced to us that way by our narrator, God, who points out their penchant for meeting alongside human secret agents in St. James Park. They speak in a secret language that we'll call in this meta Ineffable Husbands Speak that only they-- and God-- speak fluently... but for which Good Omens has been slowing giving us enough information to learn how to speak as well.

Code words. Often neutral-sounding and very common words--by design-- in order to keep the hidden meanings of the secret language secret from outside observers by making it sound like everyday conversation. As a result, code words have dual layers of meaning: they refer to a literal thing on the surface level but also have a secondary meaning beneath that within the secret language.

Example, in Ineffable Husbands Speak: "dining at The Ritz."

To "dine at The Ritz" (in Ineffable Husbands Speak). Surface, literal level: to eat a meal at the restaurant at The Ritz-Carlton, London. Hidden level: to take steps towards being less secretive about their relationship and to live more of a life that is theirs together.

Code phrase/cypher. A phrase that sounds as if it has a single, understood meaning on the surface but is comprised of code words put together to convey a meaning that is hidden from anyone who might hear the phrase but does not speak the secret language. Impossible to understand unless you either created the language or were given instructions on how to speak it... unless you can come into possession of a key that can unlock it.

If spoken to someone who does not have a key to understanding it, they might possibly be able to recognize that you are speaking in a kind of code... but they will not have the understanding of the double meanings of the keywords, nor the context required, to figure out just what the hell you're talking about.

Example: "The clarinet can make beautiful music."

Good Omens included this scene right near the start of the season in 2.01 in which both Crowley and we the audience have no idea what Agent Fuzuli is *really* saying, even if his sentence makes technical, if not really contextual, sense. We can recognize from his over-the-top obvious spy-speak that he is speaking in code. They did so to highlight the existence of hidden language in the show and how important it is to unlocking more layers of meaning in the story.

Neither we nor Crowley expressly need to decode this particular sentence to understand what's happening in the story of Good Omens because Good Omens is not about the romance of Agent Fuzuli and his new paramour, the Azerbaijani Sector Chief. (Cupid!Crowley really out here matchmaking everyone in sight in S2 lol.) If it were, we would be needing to figure out what this clarinet and its beautiful music are all about. Instead, though, the show is suggesting that hidden language and decoding it is paramount-- but we should focus a bit more on the secret language of our main characters Crowley and Aziraphale instead.

Sexual innuendo/sexual euphemism: A kind of secret language in which something that is not inherently sexual is given a sexual connotation. Relies heavily on suggestive tone and context. Often full of in-jokes. Often done to soften talk of sex-- and, just as often, paradoxically, tends to make things actually a bit sexier. Relies on a sense of humor and so increases a sense of playfulness and fun between partners. Is flirting by way of creating a secret language out of innuendo.

Example: To "mend his shirt" in the (code-named) Mrs. Sandwich's sexually euphemistic speak, as brought on by Aziraphale's 19th century-era magic during The Ball, is to give a blowj-- well, actually, here: Crowley will define the innuendo for us through the use of partner scenes...

"Fine *stable* of ladies"... the horse statue where Crowley keeps his glasses in the bookshop... mending Aziraphale's shirt in a way evocative of mending Aziraphale's shirt...

Mrs. Sandwich. A "seamstress." Not her real name. A walking, talking intersection of secret language, innuendo and sex in Good Omens, whose name and the content of her scenes help us confirm we're on the right track in decoding Ineffable Husbands Speak.

Sandwiches. Popular, common food that can be eaten anytime during the day but are most commonly associated with lunch.

Lunch. Midday meal. What Aziraphale offers to buy Crowley in thanks for Crowley rescuing him from The Bastille in the Paris, 1793 scene.

Paris, 1793/The Bastille. Partner scene that acts as the key to the 1.01 scene-- and its subsequent scenes-- that shows the nature of Crowley and Aziraphale's relationship through their use of secret language.

Let's Have Lunch. The 1.01 scene that, when unlocked using its partner scene of 1.03's Paris, 1793 scene, reveals that Crowley and Aziraphale are lovers. How so? Read on. :)

Armageddon: Round One. The end of the world and what Crowley and Aziraphale both separately learn is in motion in 2008 in 1.01. They meet the following day to discuss it and the show tells us then, at the start of the story, exactly one bullet point on their shared timeline-- the very first thing we ever learn about the entire 6,004 years that they have been living on Earth together since the last time we saw them together in Eden. Something important enough that it received its own partner scene in the 1.03 Cold Open basically entirely to help decode this scene in 1.01-- and re-contextualize the 2008 minisode (and a lot more) as a result.

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

As Crowley & Aziraphale head through the park and argue over whether or not to stop Armageddon, they eventually reach the spot on the side street where Crowley has parked The Bentley. This brings them to not just a conversational impasse but a physical one-- there's nowhere left to walk because they're now at the car and this is when Crowley says:

"Well, let's have lunch, hmm? I still owe you one from..." At this point, we're too busy being charmed by this vintage-y angel and this rock star demon who lunch together on Earth arguing over Armageddon to barely notice the content of this scene and that might be by design. It is sandwiched between two other scenes, both of which understandably get a lot more attention: the "celestial harmonies" conversation on the bench in St. James Park and the kinky lunch at what we'll later learn is The Ritz. ("Lunch" in Ineffable Husbands Speak is not *just* the food kinky lunch, as we'll get into below.)

We also don't yet have the key the first time we watch this scene to decode it because we aren't given that by Good Omens until the 1.03 Cold Open and its Paris, 1793 scene. We can pick up on some vibes in this scene in 1.01 but unless we use the Paris, 1793 scene to fully decode Let's Have Lunch in 1.01, we aren't actually understanding what they are saying and, as Fraulein Greta Kleinschmidt would say, we must know what they are saying... (since we're all not Nazi Zombies, we'll be able to actually figure it out...) :)

...but we do now have the 1.03 Paris, 1793 scene so now, let's check out the moment this scene becomes, um, important-- and that is Aziraphale's response to Crowley's invitation to lunch:

Oh, what's this now...? Crowley owes you lunch from *when,* Aziraphale? From "Paris, 1793", did you say...?!

You mean from the time that you dragged Crowley to The Bastille to save you from a situation you put yourself in and could get yourself out of the entire time because you have a Neil Gaiman-Ask-confirmed, canonical thing for him rescuing you (and because, as a fun S2 partner scene suggests, rescuing you always does make him so happy) and you were so very grateful for the rescue that you offered *to buy him lunch*?! A lunch that this scene in 2008 will confirm you went and had together? A lunch that we had *an entire, separate scene about* in the middle of the 1.03 Cold Open-- alongside The Arrangement and the 1862 breakup and 1941 and the 1967 holy water scene, in terms of importance to understanding this relationship from the show's perspective? THAT LUNCH?! lol

Paris, 1793. The ONE TIME IN THE ENTIRE HISTORY OF THIS RELATIONSHIP lol that it can be safely said that Crowley absolutely, 150%, *most definitely does not owe Aziraphale lunch*. The time we had a whole extra scene over, just to confirm how much Crowley does not owe Aziraphale lunch from this one time in Paris in 1793...

Well, well, well... seems we have ourselves a key. :)

Lunch. Code word in Ineffable Husbands Speak. A code word that, when unlocked, helps to unlock additional language, as we will see.

If Aziraphale's reply to Crowley's lunch invitation is to say the one time in history from which we know Crowley doesn't owe Aziraphale lunch, then Aziraphale's reply is really in response to the hidden, second layer of meaning beneath the lunch invitation, which means that Crowley isn't just asking Aziraphale if he wants to go grab the midday meal together and Aziraphale is more than aware of that. As we will see from the dialogue below, this suggestion that they have lunch on the surface level is also, on the hidden language level, a suggestion that they have sex.

So, ok, let's try this 1.01 scene again, now that we've started to factor in the information we have from its 'Paris, 1793' partner scene from 1.03...

What Aziraphale Is *Not* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to time travel to The French Revolution for lunch; that he would like to go to Paris in the present for lunch; that he wants to go to their favorite creperie; that he wants to go get himself locked up in a maximum security prison so Crowley can come rescue him...

What Aziraphale *Is* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to go to lunch and also that he would like to go to *lunch*-- which is to say that he's in agreement that sex sounds perfect-- and that what he "wants for lunch" is a repeat of how they made love in Paris in 1793.

Let's repeat that because mmhmm lol...

Sitting there in the middle of the second half of Crowley and Aziraphale's second scene in person together, in the middle of the first episode of the show, is Aziraphale recounting sex he and Crowley had over 200 years prior to when this scene is taking place in response to Crowley's suggestion that they shake off the Armageddon blues by sexy lunching their way to spending the night in Aziraphale's bed.

This conversation on the surface is about going to lunch and they are very funny with the literal part of their secret language, as they will actually go to lunch, as we know-- and during that lunch, Crowley will make a joke about the dual layers of meaning of their language when defining the next word in their language for us, which we will get to in a moment. For now, though, let's just go back to the "let's have lunch" scene here and look at the rest of it now that we can understand it on both levels of meaning...

"Well, let's have lunch, hmm? I still owe you one from..." Crowley does not actually owe Aziraphale lunch; this is a way to throw the decisions to him, keeping it sounding like they are just talking about eating lunch-the-midday-meal on the surface when we now know that it's more than that. He trails off and both verbally and non-verbally indicates a whole "you tell me" attitude, having offered up the idea and now giving the choice to Aziraphale. (It's not a magical influence "you tell me" like he did with Sitis, just a verbal ellipsis/non-verbal head shake that hands the conversation over to Aziraphale.) As a result of this and their responses in the rest of the scene, this becomes:

"Well, let's have lunch, hmm? I still owe you one from..." Well, let's have sex, hmm? Let's do our kinky lunch thing. Tell me what you want for later and we'll do that. Whatever you want. Armageddon already fucked up our lunchy dinner that we were supposed to sneak out to have at the fascinating little sushi restaurant where they know you last night-- it can go fuck itself for the afternoon. We're both depressed and tired. Eleven years left. We're almost out of time. I just want to be close to you. Let's have lunch.

"Paris. 1793." I could eat. I never can resist you, you know that. Remember Paris? After The Bastille? I'd like that.

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

Someone had a very nice time in Paris in 1793 if that little smile and that look and the little "yessss" are any indication. Crowley is down with revisiting The French Revolution and after this, they're both just heading to The Bentley as they continue talking because lunch is on. But why are we even talking about Paris 1793 when we have all seen this episode and know they aren't about to instantly drive back to the bookshop and get their Bastille on?

Anticipatory kink. When partners arrange to have sex in the short term but not immediately and spend the interim time discussing the sex they plan to have as a way of arousing one another over anticipation of the future lovemaking. A form of psychological edging/delayed pleasure. Fancy way of saying 'teasing the fuck out of each other' lol.

The first part of lunch for Crowley and Aziraphale is deciding what's for lunch-- before they go to have lunch-as-in-some-food-- even if part of lunching is that they aren't going to have sex for hours still to come. In addition to the anticipatory element, it's just fun to talk to your partner about sex and the way they do so also has them euphemistically refer back to past times they made love as a way of turning each other on with the memories of those past encounters-- so, doubly fun.

"Yessss. The Reign of Terror. Was that one of ours or one of yours?" Crowley's response to "Paris, 1793." He says 'The Reign of Terror' a little sarcastically, implying that while that is the historical name for the era, he and Aziraphale were actually pretty happy during it, which goes along with what we saw in The Bastille scene. On the surface, though, Crowley and Aziraphale are still attempting to make it sound like they're talking about The Reign of Terror so, technically, "was that one of ours or one of yours?" is a question that is supposed to be about who (Heaven? Hell?) was responsible for The French Revolution but oh, that Paris, 1793 scene is a good partner scene as we know the answer to this question, too...

The French Revolution. Not Crowley's demonic work. The humans thought it up themselves. Established in the Paris, 1793 scene, to help us better understand this bit of the Let's Have Lunch scene.

"Was that one of ours or one of yours?" Look at the wording of that. By definition, since Crowley is speaking to Aziraphale, the "ours" has to include Aziraphale. It's a subtle but present indicator that this isn't entirely smooth language on the surface here because it's accounting for two layers of meaning at once. If it is just about who is responsible for The French Revolution, the sentence doesn't actually make sense but that's because it's designed to sound like something of a casual reply to the surface question about The French Revolution but this conversation is now happening more on the second, hidden level and there, it really means:

We had all the sex in Paris in 1793, angel. Talk to me more about what's got you all hot for The Bastille. I remember all of it but want to know what's lighting you up here so to keep us talking about it, I'll start throwing out some options from Paris under the guise of pretending I'm talking about who is responsible for The French Revolution. Was that one of ours or one of yours? Meaning: do you want to fuck each other later or am I fucking you? By tossing these both out as options I'm obviously also saying that, if you're up for it, I'm in the mood for "ours". I currently have both the need to be inside you *and* the need to get done into next Thursday right now...

"Can't recall." Aziraphale's response to "one of ours or one of yours?" A blatant lie on every level lol. He remembers that the humans were responsible for The French Revolution and, based on how quickly he reached for it when asked what he wanted for lunch on an especially harrowing day, Aziraphale remembers every damn minute of the two of them in bed in Paris in 1793. He knows as much as Crowley what they got up to. "Can't recall" is a reply designed to sound like he can't remember who is responsible for The French Revolution on the surface level but answers Crowley's question on the hidden language level by using "can't recall" to signal that he doesn't have a preference. It's whatever you would like is fine with me. He's definitely noted the "ours" request, though, as we'll see later on.

But Aziraphale also still needs to answer Crowley's underlying question of what's he's wanting that's got him all hot and he keeps the euphemistic, hidden sex chat going by telling Crowley what he's picturing from Paris exactly that he wants later on:

"We had crepes."

Did Crowley and Aziraphale go to lunch-the-midday-meal in Paris after Crowley rescued Aziraphale from The Bastille and have crepes-the-food for lunch? They absolutely did. Lunch-the-midday-meal (or, really, *any* food/meal that is probably not breakfast, which they seem to had yet to sort out by S2 because of Crowley not staying the night) is part of lunch. But we know that this conversation in this scene in 2008 is not really about lunch-the-meal so crepes is our next bit of Ineffable Husbands vocabulary. We can tell at this point that this is a sexual euphemism. That The Guardian of the Eastern Gate and The Serpent of Eden use types of food as euphemisms for types of sex because of course they do lol...

Does the show get into what, exactly, "crepes" are in Ineffable Husbands Speak? Oh yeah. They do lol. But it's mostly on the other side of kinky lunch so we're going to come back to it...

Off of Aziraphale's crepes declaration, they get into The Bentley and peel off and the next time we see them, we're at...

The Ritz-Carlton, London. One of the finest restaurants in the world; known for their famed afternoon tea and world-class service. The origins of the word 'ritzy.' Where Crowley and Aziraphale have lunch in 2008, for what we will learn in the subsequent scene between them is the first time. We won't know that this restaurant is The Ritz until the S1 finale, when they return there after specifying that it's where they are going. We won't begin to understand fully what it means to them in their language to do so until then. The first hint happens around midway through S1 in the 1967 scene, when it becomes apparent that they are speaking to one another in a coded way-- even while alone, as they are just used to their own language by this point-- and that Aziraphale's "dine at The Ritz" aspiration was something tied to the idea of them taking some more steps towards being more openly and fully together.

In 2008, Crowley and Aziraphale decided to go to The Ritz while in The Bentley after the "let's have lunch" scene, in a scene we aren't shown, likely because the decision to do so would include directly referencing their relationship in a way the show has avoided doing so far but, as the 2.06 kiss showed us, won't be doing forever. (We also are never shown them past a certain point at night-- the show choosing to leave them in 2008 after the "godfathers" conversation in the bookshop and again in 2019 after we last see them holding hands during the ride back to Crowley's flat in London from Tadfield. This seems likely to change in S3, especially because there is almost certainly a The Blitz, Part 3 and we last left them late at night drinking wine alone in the bookshop making eyes at one another.)

Right, so, back to The Ritz in 2008 and the kinky lunch part of lunch...

Foreplay. Activities between partners-- physical, psychological, emotional, or all of the above-- that are designed to stimulate sexual arousal, in order to put the mind and the body in the mood for sex.

Kinky lunch is a form of foreplay, as Aziraphale is into the pleasure of being watched by Crowley as he enjoys the pleasure of his food and Crowley is into watching Aziraphale enjoy himself. This is also where the anticipatory kink starts to make even more sense as if they've already decided a bit of what they're going to get up to in bed later on, then they know what each other is thinking about all afternoon-- but especially during kinky lunch.

First date. There's also something of a romantic element to this, which a partner scene in S2 provided, which is that kinky lunch is essentially repeating what first happened thousands of years earlier in Job's cellar in 2500 B.C.. That night was, more or less, Crowley and Aziraphale's first date. Not all the sex they have is tied to lunching but part of lunching is, essentially, weaving their first date into these little sexy dates they're going on throughout different periods in history. Pretty romantic stuff for these two who also literally cannot say the word 'couple' but are basically married.

Biblical "fruits of knowledge." In Good Omens, what happened in The Garden of Eden is canonically known and it's that our Serpent of Eden Crowley tempted Eve into eating an apple from The Tree of Knowledge, which she then shared with Adam. The two of them then followed up the pleasure of eating with exploration into other sensual pleasures, discovered sex, and Eve-- whose biology really is something-- was basically eight months pregnant about two days later when Aziraphale snuck them out of Eden, jumpstarting humanity. Humans, though, have had ongoing debate over Genesis in The Bible as to what, exactly, the "fruits of knowledge" were that Adam and Eve consumed.

One argument is over what kind of food it was that Eve actually ate. In Good Omens, it is the most commonly thought food-- an apple-- but arguments have been made for everything from grapes to different berries to figs to even wheat. While Crowley does eat and different things than this, most of what we've been shown that he's consumed is humorous because it's almost all things related to speculated foods of the Biblical fruits of knowledge (wine-- grapes/berries; whisky-- wheat; an apple-looking tea in the S1 finale at The Ritz, etc..)

The other argument that is made is whether "ate fruit from The Tree of Knowledge" is actually just a metaphor for having sex. In Good Omens, the answer to this question is the opening of its story and it's not an either/or. It's both, with one leading to the other. Crowley and Aziraphale are more than aware of this and of the parallels with Adam and Eve to their own relationship and, like with everything else, they're very dryly funny about it. The two who are responsible for all sensual and sexual pleasure for all of humanity since the literal beginning of time have kinky lunch and a language full of food euphemisms for sex and flirty innuendo mixing the pleasures of eating with the pleasures of sex ("constitution of an ox!") because they're witty and playful like that.

Scrumptious. How Aziraphale describes his dessert at The Ritz. Means both "delicious" and "attractive/sexy enough to eat." Is basically the foremost adjective that describes human, physical beauty in terms of taste. It's kinky lunch-- a mix of the the sensual pleasures of eating food with sexual desire-- in a word.

Scrummy. Shortened version of 'scrumptious.' How Aziraphale describes the grapes he buys at The Globe Theatre in 1601, which he then spends the scene eating in front of Crowley, who flits around him like the horny little murder hornet he is, trying to flirt his way into Aziraphale's bed. 192 years before The Bastille.

Affirmative consent. Verbalized, informed and positive consent to participate in a sexual act. Needs to be direct and clear-- the more explicit and enthusiastic, the better. Good sexual practice is checking in with your partner before and periodically during to ensure that you're both still on the same page and having a positive experience. True of every relationship-- but especially true if one or more partners has had their autonomy violated in any way in the past, as Crowley has (and as Crowley had again the night before in 2008, when attacked by Satan in The Bentley, which was one of his many motivations for wanting to lunch with Aziraphale the next day.)

A cleverly-worded partner check in need not break the mood but is still equally important to do, even if everything seems to be fine. A sense of safety brings about trust and trust is sexy, after all.

"So, what are you in the mood for now?" Aziraphale's pitch-perfect partner check-in after he finishes dessert at The Ritz. He knows Crowley well enough to know that he's alright so this is flirtier than it might have otherwise been had Crowley not been. Still, it's presenting an opportunity to stop and giving Crowley the same sense of control and choice that he gave Aziraphale at the start of their lunch date. It's all done with a practiced ease and a subtle, sexy confidence that highlights that Aziraphale is very good at this and probably undid Crowley even more than watching Aziraphale eat lunch did.

Alcohol. Fermented fruit, wheat/grains or the like. Consumption of alcohol can lower inhibitions and the ability to be fully in control of yourself. To drink with someone then is to let them experience your most vulnerable self and to trust them to keep you safe and unharmed while you're not in a state of full control. It's intimate. It's sex, in food/beverage euphemistic terms, and we already know that Crowley and Aziraphale have a whole food-related sexual vocabulary... which Crowley jokes about in this scene.

When Aziraphale asks Crowley what he's in the mood for now that they've finished their dessert course, the point of the initial shot of the scene comes into focus-- the way the camera swoops a little over the surface of the table before settling back to show us Crowley and Aziraphale. The swooping shot illuminates what's on the table. It shows us that they've already eaten lunch, as Aziraphale is on the last forkful of his dessert. The key bits, though, are the beverages-- the coffee and the wine glasses.

Aziraphale has a larger, cappuccino-sized mug of some form of coffee drink while Crowley's dessert was a dessert coffee, based on the size and shape of the mug he's drinking it from. This is also where it's fun to point out that Mr. Six Shots of Espresso in a Big Cup has drunk half of what would be less than two shots of coffee, in a normal-for-the-drink-sized cup, and that the coffee is light in color, suggesting that it's cut with cream. But while the coffee and its symbolic freedom tied to S2 is fun to look at, the point here is that Crowley's coffee looks to be a dessert coffee, most of which frequently contain alcohol and, even more prominent in the shot, are two, empty wine glasses-- one in front of each of them-- that each have a little hint of red wine stuck in the spot above the stem in each glass, confirming that they both had at least one glass of a red wine with lunch.

The point is that they had wine with lunch and Crowley's likely been sipping an alcoholic coffee with dessert, and they're literally surrounded by bottles of wine behind them, as they're in a restaurant lol-- they're at The Ritz, which is known for their service and isn't exactly rushing them out. They could sit there for hours drinking more alcohol, should they want to... so, when Aziraphale asks Crowley what he's in the mood for now and Crowley-- who has spent this scene looking like he's considering freezing time and throwing Aziraphale over the table-- picks up the spoon from his likely Irish coffee and uses it to ding his wine glass-- that is empty of the alcohol he already drank out of it--to get the check lololol and says he wants "alcohol-- quite extraordinary amounts of alcohol", well...

Alcohol (in Ineffable Husbands Speak). Literal, surface level: Alcohol. Hidden language level: Sex.

"Alcohol. Quite extraordinary amounts of alcohol." "Sex. Quite extraordinary amounts of sex." Enthusiastic, affirmative consent from Crowley over here. He loves kinky lunch and he's glad you asked, Aziraphale, but he's very, very okay at the moment and wants to go to the bookshop now for more alcohol and, later, for quite extraordinary amounts of alcohol.

"An extremely alcoholic breakfast at The Ritz." A complete sentence in Ineffable Husbands Speak in S2 that Muriel doesn't understand but that we can by this point. Muriel not being able to speak Ineffable Husbands is the point of the moment-- it's to highlight that Muriel is missing information because they don't have the information needed to decode what Crowley is saying or to even realize that there is something to be decoded. It's to point out to us that we have this information and that's why we can understand what Crowley is saying. It, along with "no nightingales", is a moment designed to point out the language and how we can't interpret what we're seeing without being able to understand it. The context of the "us time" scene in S2 helps to reinforce that we have this language correct then also makes it an additional partner scene to the 2008 minisode, as it reinforces this interpretation of the language and the relationship between Crowley and Aziraphale that suggests.

Why does Muriel need to leave the bookshop in 2.06 if Crowley and Aziraphale are going for breakfast at The Ritz? We know it's because breakfast is the latest step they want to take when it comes to dining at The Ritz and alcohol is also sex so the Inspector Constable needs to leave because Crowley is out to have some lunch for breakfast.

Right, so, after kinky lunch at The Ritz back in 2008, we then catch up to Crowley and Aziraphale as they are walking up Whickber Street towards the bookshop.

Romantic stroll. They seem to like to go for a little walk together as part of lunch, if they can swing it. In 2008, they're caring a little less because they've just dined at The Ritz for the first time and they have 11 years left until the end of the world, so they're taking some moderate more risks. This might not be always typical of lunch but it is in 2008. They did this on their first date in the Land of Uz, sneaking out of the cellar to take a walk under the cover of night after the storm stopped. They also take a little stroll from the park to The Ritz in 2019 at the end of S1. All three of these times are possible exceptions-- it was night in 2500 B.C. on their first date and 2008 and 2019 are examples of not just lunching but dining at The Ritz, in the sense that they are in an era of being a little less guarded, if still cautious enough to maintain a sense of secrecy. There is a practical reason for the walk, though, as well as well as a romantic one, and that's related to:

The Bentley. Parked nowhere near the bookshop. On a side street somewhere, like we see Crowley has been doing ahead of S2 and is doing during S2 (including the night before the season began.) Crowley staying in the bookshop late into the evening is a given since they're lunching and have already planned to have some alcohol after their alcohol. The Bentley cannot be parked for hours in the evening in front of the bookshop without them running the risk of being caught so, even if they are coming back to the bookshop during the daylight of the mid-afternoon, The Bentley is already parked away from the shop because lunching comes with an understanding that Crowley will be staying in the shop well into the night.

This all seems routine for them at this point. As speculated in another post, this is probably how Crowley became friends with Mrs. Sandwich, whose work has her outside a bit in the early morning hours just outside the side door to the bookshop. Either way, the car is away from the bookshop so Crowley can stay most of the night with Aziraphale.

1921. The year in which Aziraphale bought a dozen cases (144 bottles) of Chateauneuf-de-Pape "for special occasions", as he either tells or reminds Crowley on their walk up Whickber Street. Twenty years before The Blitz.

This is an interesting comment for this exact moment here because one of the two pretty large gaps of time in the last few hundred years in their history is 1862-1941, right? We don't know much about what transpired between their whole breakup mess in St. James Park in 1862 and The Blitz. One of the flashbacks that was cut from S2 might have illuminated some of this, as it was the one set during The Gold Rush in America, which means it would have had to have taken place before about 1893. We know about Aziraphale learning to gavotte in The Hundred Guineas Club in Portland Place in the 1880s, we know that Maggie's great-grandmother started The Small Back Room with Aziraphale's help in the 1920s and we know that Crowley bought The Bentley sometime around 1933. In the midst of all of that, though, there's this one reference to 1921 here in the 2008 minisode that is pretty interesting when you consider why Aziraphale might be bringing it up in this moment.

Aziraphale is saying that he made an investment in the idea of them having a future of special occasions to celebrate together-- in whatever way they could manage to do so-- in 1921, which is a year in which, as far as we can tell so far, he might not have had a lot of hope that this would be possible. They do seem relatively incapable of breaking up for very long but it's also evident that they don't really fully start to get beyond 1862 until 1941 from what we've seen so far so it might have been a bit slow to heal. We do know that they were in contact and not just from the deleted America flashback but from the canonical reveal that Aziraphale got his driver's licence in the early 1930s, after Crowley bought The Bentley. But Aziraphale might be trying to say to Crowley that things didn't seem especially hopeful for them in the early 1920s, either, but Aziraphale has always held out hope.

1941. A special occasion, as that is Chateauneuf-de-Pape that they are drinking in The Blitz, Part 2.

2008. Year in which this minisode about lunching is taking place, when Aziraphale says that there "are a few bottles left" of the Chateauneuf-de-Pape he bought 87 years earlier, implying that they've drunk their way through almost 144 bottles worth of *just* "special occasion" wine *alone* in the last just under 90 years.

"For special occasions." Would be a truly insane way to refer to learning that the world was ending so safe to assume that Aziraphale is wanting to bust out the Chateauneuf-de-Pape in 2008 because what we see in 1.01 is the first time they dined at The Ritz. It was maybe not the most ideal way they'd ever wanted to as it was largely reactionary to learning they were almost out of time but they did it so time for the Chateauneuf-de-Pape.

Chateauneuf-de-Pape. Wine with quite the holy history. Translated from French, means "The Pope's New Castle". The Catholic papacy in early 1300s were big fans of the Burgundy wines in the area, spearheaded their popularity, and used the church to help spur the economic growth of the Avignon viticulture in that area. They drank the wine exclusively themselves and the papacy had been relocated to Avignon so, to an extent, Chateauneuf-de-Pape is something of a "holy water", symbolically. Maybe the antithesis of it-- holy water (water blessed through the power of Heaven) can kill Crowley, Chateauneuf-de-Pape (wine made by humans; symbolic of sex and love and a lifetime of special occasions with Aziraphale) is the stuff worth living for.

Wine is alcohol is, therefore, in Ineffable Husbands Speak, sex.

"Not very big on wine in Heaven, are they?" What Crowley says on their walk to the bookshop, in response to Aziraphale's suggestion that they break out the Chateauneuf-de-Pape.

A very funny line made even funnier by this partner scene in S2:

Well, you'd better pop off and get it then, haven't you, Aziraphale? lol

What, exactly, was going on between these two Influencer Brats of Job and their usual angels-- do we even want to ask? Probably not. The way Keziah says "they haven't brought the wine" with that little emphasis makes it feel like it's possible that their usual angels bring some Heaven-blessed wine as a pretense but that 'bringing the wine' is sexually euphemistic. Ennon hitting on Aziraphale adds to that sense by giving us the feeling that Job being God's favorite human means that, prior to the bet, Heaven was sending angels to see to the needs of the family and the elder two siblings have a pair of usual angels who service their, uh, beverage needs. All of which is, objectively-speaking, against what Heaven says it disapproves of (sex, alcohol/drunkenness, etc.), emphasizing the hypocrisy of the fascist state of Heaven.

The Job minisode then serves to reiterate the wine/alcohol = sex throughout the series and makes even funnier the fact that Crowley then drank the rest of the house's existing wine in revenge for these older kids being such brats and Ennon treating Aziraphale like a whore.

What it shows, though, is that maybe the only consumable beverage that Heaven *is* very big on-- if not on drunkenness-- is wine, like many big religions on Earth, right? As a result, Crowley's "not very big on wine in Heaven" line is then emphasized to really be "not very big on sex in Heaven, are they?"

Ok, back to 2008...

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes... Or single-malt scotch... Or frou frou cocktails with little umbrellas..." Crowley's full response to Aziraphale's Chateauneuf-de-Pape discussion on their walk. Translated from the Ineffable Husbands Speak below.

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes..." Not very big on sex in Heaven, are they? Forget music and food and books and our life here with our human things and our special occasions and spending time together, you are going to spend an eternity trapped in a open-floor-plan office building in the clouds with a bunch of prudish religious zealots. Forever and ever and ever... We have, potentially, eleven years until we'll never make love again. You *love* sex and if we don't stop Armageddon somehow, you're never going to come again...

"...Or single malt scotch..." Scotch is whiskey made in Scotland. Talisker, Crowley's favorite whiskey and recurring drink order, is a single malt scotch. So, this is: Not very big on *me*, either. Not exactly like I can just ride the elevator up for a visit... if I even survive Armageddon. You might have noticed Heaven is not tagging everything on their Tumblr #bildaddy. In case it wasn't obvious that this entire time, I've been listing other things you like about life on Earth while under the surface basically screaming "WE WON'T BE ABLE TO BE TOGETHER, ANGEL..."

"...Or frou frou cocktails with little umbrellas..."

Frou frou. American slang for "fancy", sometimes overly so. The American English sister word/answer word to "ritzy". Spoken by Crowley after they've just left The Ritz and as they walk past what will be the American-themed Give Me Coffee or Give Me Death in S2. Comes from America's longest allies--the French-- where it means the rustling sound made by skirts as they move and is onomatopoeia (words derived from the sound they make, rather than rooted in a language.) To reference Scotland, the United States and France within two sentences while bashing Heaven is very Crowley, who doesn't see Heaven as The British Empire or anything lol.

Cocktails. Mixed drinks. What you get when you combine alcohols. Also ties to the scene in S2 with Mr. Brown of Brown's World of Carpets in The Dirty Donkey, which is now a partner scene to this as well. Crowley's "a sherry for you, a whisky for me." It's another example of alcohol as symbolic of sex as Crowley bringing Aziraphale his preferred drink is their attempt at getting Mr. Brown to get the hint that they are a thing and they like now to keep the alcohol just to the two of them.

A cocktail, though, being a mixed drink, can refer in the context of discussion of Heaven and their relationship to the fact that they are an angel and a demon and Heaven is not very big on that particular cocktail.

Frou frou cocktails with little...

Umbrellas. Canopies.

Canopies. The essential setting component of Crowley's Vavoom in S2, as we heard him talking about (while having a drink) with Aziraphale in S2: "You mean like a sudden rainstorm forces them together beneath a canopy... and they look into each other's eyes and realize they were made for each other."

Vavoom. Alternatively: va-va-voom. Voluptuously sexy. Of or portending to sensual pleasure. How Crowley described his hypothetical-for-Maggie-and-Nina erotic-gazing-into-a-passionate-kiss-while-sheltering-from-rain-together-under-a-canopy thing that is absolutely not Crowley and Aziraphale's first kiss recounted back to Aziraphale by Crowley as his definition of romance. Not at all. Crowley just has a thing about tree canopies and their modern rain-sheltering cousins, umbrellas, ok? We didn't just spot The Vavoom hidden there in 1.01 a bit, too. Absolutely not. ;)

"Or frou frou cocktails with little umbrellas" (in Ineffable Husbands Speak). Heaven is definitely not very big on opulent mixed angel-demon drinks like us and our little romance... We're never going to kiss again, angel. Do you really want to spend *eternity* without ever kissing one another again?

According to S2, the answer to that question is that Aziraphale cannot handle the thought to a point of having a complete breakdown of 'what if you were an angel again so we never had to worry?' desperation, so this is probably why Aziraphale's downward hands of 'argh, not right now-- I can't handle this' show up at this point in 2008, as they finish crossing the street and arrive at the entrance to the bookshop.

This is when Aziraphale starts in on his whole "I'm an angel; you're a demon" stuff again but the tone of it is pretty soft and he adds this bit into it:

"We're hereditary enemies." Something which is hereditary is something which you've inherited through no fault of your own and without your agreement. Often, something foisted upon you that you would not have chosen. Aziraphale's comparing their situation to things like hereditary disease-- they didn't ask for it. It's not their fault. The reality of it, though, is still present. This is a way of reassuring Crowley that, even though Crowley could see through the Yay, Heaven! from the earlier St. James Park scene, that Aziraphale doesn't see him as the enemy and would never have chosen this whole mess. He's not yet agreeing to help Crowley stop Armageddon-- the odds are good that he never was going to while they were outside of the bookshop anyway and Crowley knows that. Everything Crowley has said so far is preamble to his argument for stopping Armageddon later on, when they're inside, sobered up, and Aziraphale is ready to work on a potential plan with him.

After "hereditary enemies"...

"Get thee behind me, foul fiend." Blasphemous Bible-speak delivered flirtatiously as a sexual invitation. Not the only scene in the series with blasphemous innuendo but this one line alone could be its own meta so, in an effort to keep this at under 4 billion words lol, we're just going to look at how this is relevant to lunching.

Foul fiend is just Biblical speak for wicked demon. "Wicked" and "demon" are words in the same vein as "wily", "thwart" and "smitten"--words with dual layers of contradictory meanings that Crowley and Aziraphale love to use in their language. To be "wicked" is to be evil in the sense of in line with Satan, yes, but it's also to be playfully mischievous and is a positive adjective used in place of "excellent" at times. To be a "demon" is to be a familiar of the Devil, yes, but it's also to be extremely skillful and talented at a particular thing.

Aziraphale does the whole "I'm an angel. You're a demon. We're hereditary enemies" thing but then turns around and uses "foul fiend"/"wicked demon" in the non-satanic definitions of it through his fond and suggestive tone. He's not calling Crowley evil-- he's calling Crowley playfully mischievous. He's calling him trouble in a light and fun way. He's not calling him a demon in a derogatory sense but in the skillful sense. The same words that mean "evil ally of Satan" also mean "playful and talented"-- Aziraphale has added context by situation and tone of voice/delivery to essentially turn "foul fiend" into calling Crowley "a demon" in bed, in the "skillful" sense of the word. It becomes fuck me, my very wicked demon by use of a suggestive tone.

But it's the use of "get thee behind me" that is most relevant to 2008 here because remember when I told you we'd come back to crepes?

Crepes. Thin, French pancakes. Can be had almost anytime of the day because they are quite versatile-- savory, sweet, for lunch, for dessert, you name it lol. As sexual euphemism, though, we are really looking at how 'pancakes' have been used traditionally by people using food as euphemisms for sex and that is, unsurprisingly, in relation to how a pancake is cooked. I think we've all probably made actual-pancakes-the-food before or at least have seen it done so it probably will not come as a surprise to you that you have to turn a pancake over to griddle it on both sides for it to be done.

As a result, any sexual euphemism involving pancakes is referring to sex that involves a switch from an initial position to a second position that is literally just the receptive partner turning over. So, in order to fully get Aziraphale's love of his romantic French pancakes here, we'd have to have the starting position of crepes and that is something the show actually gives us because why not at this point lol.

"Get thee behind me" after they've spent the afternoon setting up this 1793-inspired crepe-a-palooza indicates that the starting position of crepes is Aziraphale getting done from behind but he'll turn over because he likes to finish his French pancakes facing Crowley.

Vavavoom Yellow. The color of Crowley's eyes and the actual name of the actual paint the actual people involved with this show painted the actual walls of the bookshop. The color Aziraphale turned The Bentley after making it take off its black and silver sunglasses. Crowley's only out here trying to seduce Aziraphale in every other scene by looking at him over his glasses or taking them off or going on about their tantric eye sex into their first kiss... Seems possible Aziraphale might have a thing for Crowley's eyes, no?

"After you." Aziraphale wants crepes for dessert, though. After "get thee behind me, foul fiend", he gestures Crowley into the bookshop with a very witty "after you", which is both politely letting him go first into the bookshop and insisting he is in bed later as well.

Inviting Crowley inside the bookshop with the "after you" in tandem with inviting him inside with the "get thee behind me" is also then using the fact that Crowley is allowed into the bookshop as sexual metaphor for being allowed inside, well, Aziraphale. This gives it a partner scene in S2, when Aziraphale turns The Bentley into a sexual metaphor and is going for the innuendo gold when he then again uses the bookshop to euphemistically refer to himself with "... just as that bookshop is, technically, my shop... but we both get *plenty* of use out of it, don't we?"

God. The only other character on Good Omens aside from Crowley and Aziraphale themselves who speaks Ineffable Husbands Speak. Character responsible for teaching us one of its most important code words-- "nightingales"-- and who ships it so hard that She had a literal nightingale singing as a joke on their dual-meaning-happy language in the S1 finale. Our narrator in S1.

"...while, in London SoHo, an angel and a demon had been drinking solidly for the last six of them." As we cut away from Crowley & Aziraphale's scenes in 2008 to see The Youngs leave the satanic nunnery with their new baby, God points out-- with a hilarious 'oh my stupid children, scared of a baby' tone-- that "The Antichrist had been on Earth for 24 hours." If we can assume that The Youngs were not sent home from the hospital with a new baby in the middle of the night and that it's closer to the more civilized option of a dinner hour, then that would also go with the fact that Aziraphale was having dinner during all of this the night prior, right? Which means it's dinner time, if we're at 24 hours later. Which means that if, in London SoHo, an angel and a demon have been "drinking solidly" for the last six hours, then God is counting the entire afternoon since Crowley and Aziraphale met up for lunch as "drinking solidly" and that's because "drinking" in Ineffable Husbands Speak isn't just alcohol but sex. Yes, that's God making a sex joke. (She has a few more in S1, too.)

"Baby." Term of endearment for a romantic and/or sexual partner that has been documented as having been in existence since at least around the 1830s but was mainstreamed by American jazz, soul and rock 'n roll music and cinema.

While Crowley and Aziraphale are in the alcohol stage of their alcohol, they get plastered on Chateauneuf-de-Pape and Crowley, in a drunken ramble that we will realize by S2 is inspired by Aziraphale's magic words and their conversation in 1941, is going on about what is going to happen to the creatures of Earth when the world ends. He begins to try to say that the fish will be "turned into bouillabaisse" but that word is too difficult for him to say while drunk. While attempting to, he gets distracted gazing at Aziraphale and calls him "baby" in a low voice and then we get their hilarious very drunk kissy faces. Crowley manages to translate "bouillabaisse" in his mind enough to "fish stew-- anyway!" and they sober up soon afterwards to have an actually semi-coherent conversation and some actual alcohol.

In the context of lunching, this becomes getting drunk and distracted by thoughts of later in the middle of trying to talk-- and we know now thanks to S2 that Crowley is also distracted by thoughts of 1941 here at the same time, as he's going on about bananas, fish, and gorillas. We've never heard him call Aziraphale anything but his name or "angel" with the exception of this scene, when they're alone in the bookshop with alcohol on the brain. Aziraphale is drunk but he also doesn't react like it's unusual-- if he heard it, to be honest, as he seemed a bit devoted to stringing together his thoughts related to The Kraken... that great, bigggg bugger, as Aziraphale described him, not at all thinking about the quite extraordinary amounts of buggery they were going to get up to later on.

But, anyway, there's the scene where Crowley calls Aziraphale "baby" in 2008 and that might suggest that he does if they're alone and there's no risk of anyone overhearing it. (As "angel", at least, is theoretically meant to be calling Aziraphale by what he is in a semi-derogatory way but Crowley's honestly never made that work a day in his life lol.)

Thwarting. See: separate meta on my blog on "wily", "thwart" and "smitten" as examples of words with contradictory, dual meanings that Crowley and Aziraphale like to use in the 'angel-and-demon' sense on the surface but in their 'sexy/romantic' connotations in their hidden language. While talking about a plan to stop Armageddon, Crowley uses "wiles"-- the enticing and feminine-leaning-in-connotation definition of "wily"-- in a dry joke where the surface level is about how it's the role of an angel to stop the Evil One (his demon counterpart) at every turn but is really using "wiles" in its seductive definition. He also uses "thwarting" in a way that is substituting it in a sentence for "fucking" on the hidden language level: "You can't be certain that thwarting me isn't part of The Divine Plan, too."

Indeed, Crowley. Indeed.

"...at every turn." Ha. Crowley has crepes jokes. Think of all the French pancakes we can have for eternity if we thwart Armageddon, angel...

Godfathers. The 2008 minisode scenes end with them deciding to have a baby. Crowley's like I have a plan to stop the end of the world and it's that we crash this mansion and live together raising a kid like a little family and I've thought of a way you can sell it to Heaven-- whaddya say? And Aziraphale melts into a puddle of sparkly-eyed joy and they have some quippy lines about being damned that feel like foreshadowing for Aziraphale something fierce but this is where we leave 2008. Right here.

After alcohol, but before alcohol, ya dig?

Lunch (in Ineffable Husbands Speak). A recurring date of kinky lunch and spending time together that is pre-determined to end hours later with sex that is at least somewhat decided upon at the start of lunch, often euphemistically through discussion of " lunch food" and/or their romantic encounters in their shared past.

Off of this, let's go look at our partner scene of The Bastille again, now using 2008 to illuminate parts of it.

Paris, 1793. Crowley and Aziraphale playing 'damsel in distress and dashing hero rescuer' in The Bastille. Seven years before Aziraphale opens the bookshop; thirty years before Crowley's dragged to Hell in Edinburgh. They've been getting away with this forever at this point, to a point that while they're still overall cautious and terrified of getting caught, they're starting to think it's possible they never will because they've managed to keep it a secret this long. Aziraphale is dry and arch when referencing the recent "strongly-worded note" he apparently received from Gabriel about doing "frivolous miracles". Even though the note might not exist as this whole scene is, basically, a roleplay game, the attitude there is that they're getting one over on Heaven & Hell and are taking advantage of it.

We all know things like Aziraphale lighting up when Crowley shows up and the "oh, good Lord" while raking his eyes over him-- we're just going to look at some bits here that have more significance in Ineffable Husbands Speak.

As a side note here: the buttons on the black part of Crowley's outfit in Paris also are very similar in style to the jacket he's wearing in the Let's Have Lunch scene in 2008, in a fun bit of visual paralleling between the partner scenes via the costuming. This scene is also a great one for the consistent thing in the series where Aziraphale will casually reference God and Satan ("oh, good Lord"/"luck of the devil" in the Tadfield Manor scene) but Crowley will not ("what the deuce are you doing locked up in The Bastille?").

So, Crowley does his whole haughty and faux-put-upon thing upon arriving and S2 actually makes how he arrives even funnier because he spends the first half of the scene lounging on the floor across the room, which has real Job's cellar vibes. Later in the scene, we get the "well, you're lucky I was in the area" and Aziraphale's reply of "I was", both lines of which are arch as all fuck. They ring with a kind of knowing playfulness that honestly signals the whole thing is not exactly an organic situation. Crowley has come to Aziraphale's rescue out of nowhere before and odds are solid that led to Aziraphale's whole rescue kink awakening here lol but this scene in 1793 is not that. Crowley was absolutely "in the area" with his calendar cleared for whatever sexual hijinks the angel wanted to get up to that afternoon. He's committed to the bit and asks near the start: "what the deuce are you doing locked up in The Bastille?", prompting Aziraphale's response of "I got peckish."

"Peckish", meaning "slightly hungry", but you don't wade through a revolution because you could use a snack so Aziraphale's downplaying it for humor-- he's fucking starving. And not really for food. They have food in England. Aziraphale has intentionally got himself locked up in The Bastille because he's horny, which he's expressing using food terms because of course he is. Ineffable Husbands Speak was created by this dry-humored and self-deprecating duo, one of whom is the Serpent of Eden and the other of whom is a bit of a raging gourmand and, together, they've never met anything consumable that they can't make into sexual innuendo.

To learning that Aziraphale on the surface needed a snack and, in Ineffable Husbands Speak, needs a snack, Crowley has this hilarious response:

Go on, Crowley, keep pretending like you're offended that this is all just because Aziraphale is horny and like you think it's not specific to you, like you wouldn't let him nibble on you whenever he wants lol.

Tell him he's special, Aziraphale, and not just one of your favorite toys. You dragged him to a prison cell feet away from a guillotine for this.

"Well, if you must know, it was the crepes. And the brioche. Can't get decent ones anywhere outside of Paris." is Aziraphale's quite illuminating reply.

Paris is France and anything Parisian or French is coded as romantic and as related to love to them, even if we know how much they speak around those words. We know what crepes are now from the 2008 scene and we'll look at brioche in a moment but we can already see that this sentence, translated from Ineffable Husbands Speak, is Aziraphale saying that he can fuck his way around the world (and we know it's suggested that he has at times) but he feels that it's never as good for him as it is with Crowley because the crepes and the brioche are better when they're had in Paris-- because sex with Crowley is better for Aziraphale than with anyone else because of how they feel about each other.

Probably also worth mentioning that crepes and brioche both originated in France (many societies around the world have versions of crepes but the crepe itself is French) so this is also really saying it's just always been Crowley for Aziraphale since the start and Aziraphale was alluding to that to Crowley in the Paris, 1793 scene.

Brioche. A bit of a bread, a bit of a cake, it is a bit sweet and rich like a pastry and falls mostly somewhere there on the French deliciousness spectrum between the two and treated by chefs and bakers as a bit of both. As a result, can wind up in many different meals throughout the day, in different ways. Brioche = Crowley, in food form. Can be used to make sandwiches (ha) but is most well-known as the signature bread used to make French toast. French toast is traditionally made the same way as crepes-- involving turning, like pancakes.

Brioche (in Ineffable Husbands Speak). Both Crowley himself, in food form (bread is necessary for sandwiches, after all) and crepes-as-sex reversed between them with Crowley as the receptive partner.

[Crowley is also suggested to be black bread, according to God's narration, in the St. James Park scene, leading me to believe that he's just every kind of bread Aziraphale likes, which is probably most of them.]

Aziraphale invites Crowley to lunch and we know now that lunching was already a thing for them then. True to form, the scene ends with their first step of lunch-- the anticipatory part-- with Crowley asking "what's for lunch?", which we now understand to mean the same thing as "I still owe you one from..." in 2008. He's asking Aziraphale what he would like for lunch and we know already from 2008 that they went out for crepes and had a whole French buffet.

Armageddon: Round One. 2019. Averted. Afterwards, they meet up in a park and swap bodies back unnoticed because we didn't have enough secret sexual relationship stuff already happening on this show lol so yay metaphor and now there's a full-circle back to the bench at St. James Park in 1.01 but now with them having survived and at least temporarily halted Armageddon. Then, as they start to adjust to the whirlwind being over, it's Crowley with:

"Time to leave The Garden." Crowley likening Aziraphale and himself to Adam and Eve-- and just prior to proposing that he and Aziraphale go get their Garden on with a little lunch. Shows that Crowley and Aziraphale are more than aware of how much they parallel the first humans and reinforces that all of the Eden references and related humor in their romantic relationship that we've seen is not coincidental but intentional.

To ask Aziraphale if you can "tempt him to a spot of lunchchch" while opening up your hip to spread your thighs and angle yourself to suggest that your body is also on the menu. Complete with the 'wanna go to bed?' head tilt of 1601 and 2008 fame. I mean...

Meanwhile, Aziraphale's barely conscious of the fact that he's rubbing his thighs and looking at Crowley's lips...

To reply "Temptation accomplished." with a cutely dorky little laugh to Crowley's invitation to lunch. To never be one to say no to a spot of lunch and accept the invitation, while joking around about how neither of you ever actually tempt each other, you just find each other tempting, in the 'attractive' sense of the word.

Anticipatory kink. The first part of lunch.

To say that a table at The Ritz has miraculously come free. To suggest that you have 2008/Eleven Years Ago for lunch, coming full circle back to 1.01 in the S1 finale. 2019 is 2008 is 1793 is...

Champagne tea/high tea. The meal that Crowley and Aziraphale are actually eating when they go to lunch in the S1 finale. Features champagne and macarons, both of which are French, adding to the romance and the ties to 1793. There also appears to be an apple-hued tea on the table, nodding to Eden.

PTSD. What causes Crowley to sometimes go quiet and zone out. In 2008, we came in on the end of their meal at The Ritz and Crowley was in the moment. In 2019, we see the start of their lunch part of lunch and Crowley is not at all present. He's facing ahead and staring into space at nothing, exhausted and not in the moment. Aziraphale's partner check-in is different this time, as he can tell that Crowley is not with him. He draws him back to the now with a bit of romance.

"...if you weren't, at heart, just a little bit of a good person." I love you, you know.

"And if you weren't just enough of a bastard worth to be worth knowing." I love you, too.

"A Nightingale Sang in Berkeley Square." Romantic 1940 song containing the lyric "angels were dining at The Ritz" that formed the basis for Aziraphale creating "dining at The Ritz" as a code phrase meaning a more acknowledged and somewhat more open relationship in the future... which they then celebrate agreeing to try by literally dining at The Ritz, in line with their dual layers of meaning-happy language. We're still awaiting the origins of the song as their song but it is to a point that one of them has the pianist playing an instrumental version of it during this afternoon tea lunch in 2019. We also get Tori Amos' cover playing over the scene because dual layers of everything.

Literal nightingale singing. God showing only us the bird that Crowley and Aziraphale don't know is actually singing is the show acknowledging that our perspective is, like God's, on the outside of the relationship but we are now able to understand it. To see the literal nightingale but know what it means both symbolically and in Ineffable Husbands Speak is to see that there are different levels of meaning beneath the surface of what we've been watching.

Nightingales (in Ineffable Husbands Speak). Romantic love. Specifically, Crowley and Aziraphale's word for their love for one another.

[zepskies]

Wake Me Up - Part 1

Pairing: Soldier Boy/Ben x F. Reader

Summary: A few weeks after you and Ben celebrate your first Christmas together, Ben is returning from another mission with the Supe Affairs team. When he discovers that you’ve been taken, he’ll do whatever it takes to find you. And then, to help you heal.

AN: Welcome back to the BMD-verse! Let me tell you, I’ve had this mini series outlined for months, but now I thought it was finally time to get to it. If you’re not tired of the Break Me Down world yet, I very much hope you enjoy Wake Me Up.

**As a reminder, this story is set shortly after Love Actually, and will contain references from that three-part story. 

Song Inspo: For this whole series it’s “I Can Read Your Mind” by the Doobie Brothers. (I pretty much listened to this on repeat.)

Word Count: 5.5K

Tags/Warnings: 18+ only. Starting off strong in this one: with mature themes, show level violence, angst, kidnapping, PTSD, mentions of torture (not too graphic), and character death.

💚 Wake Me Up Masterlist || Break Me Down Masterlist

Part 1: “Familiar Territory”

The start of a new year continued a steady rhythm for you and Ben. Namely, another successful mission for the Supe Affairs team.

While you were patched into the team’s communications line from the safety of your desk back at the S.A. headquarters in New York, your friends were a few states over in Denver, Colorado. They’d just arrested a supe that had been committing a series of bank robberies by literally slipping away from the police, thanks to his particular superpower.

“Somebody better get this shit off of me,” M.M. groused.

He wasn’t too happy about some questionable ooze this particular supe secreted as a defense mechanism. According to Frenchie’s research, it was the same shit that certain frogs could produce to repel predators.

“Need a good hose down, more like,” said Butcher. “You smell fuckin’ foul.”

“Like Satan’s ass crack,” Ben remarked.

You couldn’t hold back a snort of amusement.

“Let’s just get the fuck outta here,” M.M. said, his tone all surly, as per usual. You didn’t envy his plight.

“Good job, guys,” you said, to change the subject. “Now it’s just a short flight back to New York.”

“No layovers this time. I’m not being paid to rot in a fucking airport with a bunch of mouth-breathing assholes and their screaming brats,” Ben said.

Charming. You rolled your eyes, but a smile played on your lips when you imagined his taciturn face.

“Okay, your majesty. I’ll make sure it’s a nonstop flight,” you said. “I’ll be waiting for you at home.”

That last bit, you said with a hint of more behind your words. You drummed your nails on your desk and crossed your legs underneath it. A week was a long time for you and your boyfriend to be apart, and you’d been missing him.

“You better be,” Ben said. His voice was deep and cocky. He was smirking, you were sure, and you knew that he’d understood you perfectly well.

“Anybody else hearing this blatant foreplay?” Hughie quipped.

“I sense cheeks will be cracked tonight,” Frenchie muttered.

“Ugh!” you heard Annie shudder.

You knew she supported you and Ben, but you also knew that she didn’t want to hear about the gushy details. You laughed through your embarrassment. 

“Okay, guys. I’ll see you all tomorrow,” you said, before you officially signed off. 

You grabbed your purse that was stowed away in a desk drawer, fished out your cell phone, and you called Ben’s cell. He picked up on the second ring.

“Yeah?” he said. 

“I love you,” you said with a smile. “Just wanted to make sure you knew that.”

“Mhmm,” he replied. “I’ll see you soon, baby doll.”

You pouted. “Come on, say it.”

“Say what?”

You sighed. You knew he was being deliberately obtuse.

“You know exactly what,” you replied.

Part of you was upset that he didn’t say it back as often as you liked. God forbid Butcher and the others hear him express his affection for you.

But you supposed you understood that any kind of vulnerability was difficult for him, especially in front of others. As much shit as you gave him, you also knew how to pick your battles with Ben.

“I told you. I’ll see you soon,” he said.

You once again tapped your nails, on your armrest this time. After a moment, you relented.

“Okay, baby. Have a safe flight,” you said, even if you were still frowning.

When Ben hung up with you, he let out a deep sigh.

An entire week with these juvenile cocksuckers was almost too much for him to fucking take. While he often felt your presence with you on the comm line during the actual mission, and the occasional phone call on long nights in between, it wasn’t the same. It wasn’t enough.

He was ready to go home.

The flight itself was fine, though dealing with civilians and the tiring experience of a long-ass flight made him even more antsy to land. Because even when they got to JFK, he still had a hired car waiting for him to drive him from the airport to get to Scarsdale, and to the apartment he shared with you. It had already been almost a year of you two living there, in a three-bedroom spanning two floors.

Ben hadn’t thought he would get used to such a small place, but it was all right. It had become his home, far more than the penthouses and party mansions ever were, at least.

When he finally got home and unlocked the front door of the apartment, he stepped into darkness. All the lights were off.

Odd, he thought. He called your name while he shut the door behind him, then flicked on the foyer light. He realized then that he hadn’t seen your car in the driveway. Were you still working? It wasn’t unlike you to get caught up with the paperwork and other logistics after a case.

After a quick look around of each room, from the kitchen to the living room, Ben knew you hadn’t come home yet. A frown marred his face.

He went upstairs and entered the bedroom next. He unclipped his wrist guards and took his gloves off first, followed by loosening the collar of his supe suit. The bed was made, untouched since this morning, he was sure.

Then he noticed the scrap of paper resting on his pillow. He picked it up, and his brows furrowed as he read.

By the time you find me, she’ll wish she was dead.

Ben called Grace Mallory first.

When she didn’t answer, he called Butcher next. Ben’s hand shook the slightest bit while holding the phone up to his ear.

“Evenin’, guv,” Butcher answered with a tired sigh. “What’s this about—”

“We have a fucking problem,” Ben growled.

Ben pushed the limits of his Mercedes Benz while driving himself to Supe Affairs.

The others met him there in a conference room, except for Grace, who was on an active case at the moment. There Hughie and Frenchie tapped into the S.A. security footage on their laptops. 

They eventually found you getting into your car in the S.A. garage, about four hours ago. Then two later, the street cameras picked you up somewhere in the Village. Ben recognized the street. 

You probably had dinner with your friend Yvette and her family, but you intended to make it home on time to meet Ben when you left around 9:00 p.m. 

You had parallel parked at a meter on the street. According to the footage, it looked quiet and empty when you headed back to your car. 

You were stopped by someone before you could get the driver’s side door open. It looked like a man’s height and build; he grabbed you by the shoulder and threw a punch you managed to dodge.

You put up a good fight, but you were eventually knocked out with what looked to be a crowbar, at first glance. When Hughie zoomed in, it was actually a black baton. Ben watched it all with a deepening frown. Anger churned in his gut and ignited his blood as he watched your unconscious body being hauled into a black SUV.

“That looks military-issued,” M.M. said, pointing at the baton that the suspect used to hit you.

Butcher nodded, and also noted the man’s fighting style. “That’s a professional.”

“He would have to be, to take her out,” M.M. said, glancing at Ben. “And the timing. They knew you were coming home. That note was personal, besides the fact that they were casing your place…they’ve probably been watching both of you, waiting for the chance to get the jump on you.”

“The question,” Butcher said, “is who the fuck would wanna tangle with Soldier Boy that badly?”   

“Shit. That’s a laundry list, isn’t it?” Hughie said. M.M.’s glance told him to shut the fuck up.

Ben was silent, but his fury was mounting. His head turned sharply to Butcher.

“Get Mallory on the line. Now,” he barked. When no one moved quick enough for him, his temper snapped at its thinly held leash.

“I said right fucking now!”

Slowly you blinked your eyes open. For a moment, you were seeing in double vision. It soon cleared up to reveal dark, damp, musty surroundings.

It smelled familiar; after that mission to find and subdue Sapphire a couple of months ago, you’d recognize a New York sewer anywhere.

Fuuucking shit, you thought with a groan. Your head was aching. You felt a trickle of blood down the side of your neck, and you found yourself in a familiar position—seated on a metal chair with your hands secured behind your back. Your restraints felt like zip ties.

“You finally with us, sweetheart?” asked a man. His voice was smooth and commanding.

“Jackson, I don’t know about this,” whispered someone else. Another man, though he sounded slightly younger, reminding you of Hughie.

“Shut the fuck up, Tommy,” Jackson snapped.

At least you had a name. He stepped into the light that came from a couple of small lanterns. One was propped on top of a bucket by the wall. The other was on a plastic fold out table that you saw a few feet beside you.

The man who stepped into your line of vision was tall, maybe around Ben’s height, if just shy of his build. He was blonde, just like his skinnier friend. They shared some notable facial features and coloring, but while Jackson’s eyes were dark brown and self-assured, the younger man’s were blue and apprehensive. If you had to guess, they looked like brothers.

“Nice digs,” you remarked, gesturing with your gaze at your surroundings.

Jackson rose a brow, crossing his arms.

“You’re taking all this pretty well,” he said. 

You huffed humorlessly.

“This isn’t exactly my first kidnapping,” you said.

He quirked his head and drew closer.   

“All right. Well, since we’re on the clock, let me tell you why you’re here,” he said. He bent down in front of you so that his face was level with yours. “I need you, sweetheart. You’re going to tell me how to bring down Soldier Boy. How to kill him. How to end him. Then maybe, I’ll let you go without gouging out those pretty eyes.”

You stared back at Jackson with an expression that didn’t change.

Then you spat in his face.

And you expected the hard, back-handed slap that made your head whip to the side. It rattled you for a moment as you caught your breath, but you recovered enough to lean back in your seat. Your eyes met Jackson’s directly after he wiped his face with his shirt. “Tommy” stood off to the side behind his partner. He’d looked away when you were hit.

You focused on the other man, Jackson. He was wearing black cargo pants to match his boots, and a belt with a gun on his hip. He carried himself like a trained killer.

“Military, government agency, or private sector?” you asked.

His head tilted. He studied you, just like you were studying him.

“None of the above really,” he said. “Not anymore.”

He walked over to the fold out table, where he grabbed a black bag and unzipped it. A flash of silver gleamed as he pulled out one sharp instrument after the next. You had to hide your apprehension, and fear that made your insides tremble.

He glanced over at you.

“Let’s get started,” he said.

Hours later, you were teetering on the edge of consciousness.

After the last hit, you spat a wad of phlegm and blood onto Jackson’s shoes. He rotated the ache out of his hand. He looked down at you through furrowed brows.

“Damn, bitch,” he said, catching his breath. “You can take a hit. I’ll give you that.” 

“My dad was a Marine, numb nuts,” you managed to reply, through labored breaths. “He used to hit harder with his open hand than all the strength in that limp-dick wrist of yours.” 

Jackson smirked. “Christ. Daddy issues, huh? Why doesn’t that surprise me.” 

You gave him a droll look. Again, to cover your fear, because you weren’t willing to give him the satisfaction of seeing it.

Angered and frustrated by that defiance, he reached down and grabbed your neck and jaw with one hand. You winced at the force of his grip, but when he started squeezing, this was the one thing that made you truly whimper. You tried not to think about the ghost of your father’s hand around your neck.

“Don’t you get it, asshole?” you gritted out while struggling for breath. “You can’t kill him. No one can. Stronger, smarter people than you have tried.” 

Moments ticked by while Jackson contemplated your words. 

Then he released you. You sucked in gulps of air and tried not to cough out a lung.

“Maybe,” he said. “But Soldier Boy’s got a weakness. If anyone knows it, I’ve got a feeling it’s you.” 

You can’t say anything. You can’t, you can’t, you can’t. 

That had been your mantra for every minute you had spent in this hole. You shook your head.

“Look, Jackson.” You sucked in another breath to steady yourself, and blink a drip of blood out of your eyes. “He’s going to kill you. You and your brother. Take your family and run, while you’ve still got a chance.” 

“…You know what? You’re probably right,” Jackson said, scratching the back of his head with his crimson-stained hand. “But I just realized something.”

He leaned down again, until he was level with your face.

“When he finds you, drowned in your own goddamn blood…I think the look on his face might just be enough for me.”

Your eyes widened. 

It took days. Three painful days to pick up the threads, which led closer to home than anyone could’ve anticipated. 

Grace Mallory put pressure across the chain of command, and even reached out to the FBI for assistance. An alert email finally came to her phone, and she realized that an agent on her own payroll had been flagged for never reporting back for his debriefing on a reconnaissance mission.

That agent was Jackson Rawlins.

The further she read into his file, the worse her frown became. She immediately sent the lead to Ben, Butcher, and the rest of the team to run down. For the first time in years, Grace actually prayed.

She prayed that they would reach you in time. It wasn’t until then that she realized it; she hadn’t thought of you as a cog in her system for some time now—not even as leverage against Soldier Boy. She was genuinely concerned about you.

Grace worried that she was setting herself up for disappointment…if it was too late. However, she also worried about what would happen if you didn’t survive. She considered how Ben might react, with that nuclear power within him that he was still learning to control. The consequences of this mission could very well be catastrophic. 

You were losing track of time in this windowless pit. You knew it had been days, but you didn’t remember how many. The cellar was cold, and the way sound and air traveled, it felt like you were underground. It certainly smelled like it—damp and gross. It made you certain this was a sewer.

Now this is Satan’s ass crack, you thought. You winced at the pain that radiated…pretty much everywhere. Blood had dried from various lacerations across your face, neck, chest, and arms, and bruises were dark against your skin.

Your blouse was in tatters, and your jeans had bleeding rips as well, though at least he’d kept your ankle boots on. You were too weak even for hunger. And a large, heavy chain attached to manacles on your wrists had replaced the zip ties. One end of the chain was fastened between the wall and a line of plumbing.

Footsteps echoed down the hall behind you. You closed your eyes and steeled yourself.

“Are we actually gonna have a conversation today?” Jackson asked.

“Depends,” you replied, your voice dry and coarse. “Are you going to tell me why you hate Ben so much?”

An angry sigh escaped Jackson’s lips. He pointed up in frustration.

“Ben.” Jackson rolled and cracked his neck, like just the mention of your boyfriend’s real name was disgusting to this man.

“You talk about him like he’s a real fucking person. Not like the animal supe he is,” he said.

“He is a person,” you said, both in exhaustion, and in pain. “And he’s trying to be better. Look, he’s done terrible things. I’m not saying he hasn’t. I don’t know what he’s done to you in the past, but—”

Jackson shut you up with a sharp backhand. It made black spots encroach on your vision as you caught your breath.

You noticed his brother Tom come in the room as well, to watch and worry. He didn’t seem comfortable with this way of things. He looked like a civilian. Maybe you could use that to your advantage…

But you lost track of thought after that, when Jackson started in on you with either his hands, or the creativity of the instruments on the table nearby. 

You tried to block out the pain, along with his questions about Ben. If you couldn’t talk about him, you couldn’t let yourself think about him. So you couldn’t say anything.

Not about the Novichok nerve agent, one of the few things that had been found to incapacitate him. Not his imprisonment by Vought or the S.A.—nothing that your captor could one day use against Ben.

You can’t. You can’t. You can’t.

Even though all you wanted right now was him. 

Ben, please…

You zoned in and out of consciousness from there.

When you next registered being awake, mercifully, you were left alone. You raised your head when Tom came to blot at least some of your wounds and give you water. You’d only eaten small pieces of protein bars for days. 

“I’m sorry,” Tom whispered.

“Why does he want Ben?” you wheezed. “Why are you going along with this if you’re so damn sorry?”

Tom looked up at you with pain and grief in his blue eyes. He sighed and dragged a nearby chair from the table. He sat beside you while he fed you half a protein bar. It was a struggle to even get the pieces down.

“Last year,” said Tom, clearing his throat. “I lived in the building that Soldier Boy blew up when he got back from…wherever the Russians had him.”

Your eyes widened as you processed that. “You…but you made it out. Why—”

“I wasn’t home. I was at work,” Tom said. His voice was pained as his eyes became red and glassy. “Our mom wasn’t so lucky.”

You sighed, closing your eyes.

“She was retired, and I was taking care of her,” Tom said. He wiped at his eyes and sniffed. “Jackson wasn’t here. He was on a mission in Colombia. Told me he was cleaning up some cartel shit.”

At that, you had a sneaking suspicion that coiled in your gut. Ben had left a bit of a mess when he peaced out of Colombia, with an entire plane filled with drugs and weapons from whatever cartel he’d infiltrated. (In his words, he’d cut the head off the snake.)

Grace told you she’d sent a team in to handle that mess…

“Your brother—who does he work for?” you asked. Though you had a feeling you knew the answer.

Tom seemed to read your understanding, and his face turned grim.

“The CIA,” he said.

Fuck, you grimaced. So not only had Ben been responsible for their mother’s death, but Jackson had been part of the team that cleaned up his mess in South America. It explained why Jackson was somehow able to find your information; Supe Affairs had become a subsect of the CIA, thanks to Grace. 

“I didn’t know he was planning this. I swear to God. All he said was that he had a way to get at Soldier Boy,” Tom said. You let out a deep breath.

“I’m sorry for your loss. I really am,” you said. Tears welled up hot in your eyes. “But you need to let me go. For your own safety, believe me.”

You saw the guilt, the sadness, the regret on Tom’s face. The brief indecision was overtaken when he glanced down the hall. You knew then that he was more afraid of his own brother than he was willing to do the right thing.

Your tears spilled over, though you tried to breathe through it. You’d tried to save them for when you were alone, those seldom few, cold hours, but you were reaching your breaking point.

“Okay, before I go, do you have to use the bathroom?” Tom asked. There was a bucket in the corner, and Jackson preferred it away from the chair. It was the only time Tom was allowed to unchain you from the wall and let you stretch your legs.

Letting out an exhausted sigh, you nodded in agreement. It was humiliating to know you were going to have to do this yet again, in a bucket, with company. With the manacles still on your wrists, he brought you over to the “special” corner.

Tom sighed and looked away to give you some semblance of privacy.

That was when you used every scrap of energy you had left in you.

You grabbed the chain and yanked it out of his hands long enough to wrap it around his neck from behind. You cut off his sounds of strain and kicked out his knees, so he was forced to kneel on the ground.

You wrapped the rest of the chain around your thigh, giving you the leverage you needed to tighten your grip and choke him out, until he was unconscious. His body fell to the side, and you heaved for breath. Once again, there were black spots in your vision, but you did your best to blink them away.

Now set with determination, you made your way to the plastic table and searched for the key to your chains. After the manacles were unlocked, you rubbed at your raw wrists and rapidly scanned the room. Adrenaline pumped through your veins as you calculated which way you should go to try and escape.

There were three possibilities in this clearing under the sewer: left, right, or straight ahead. Every time Tom or Jackson emerged, it sounded like it was behind you. The chair was facing to the east, which meant you had to take the left tunnel.

You ran in that direction and tried to find a metal ladder that would take you to whatever manhole cover these guys had detached. Someone couldn’t just open up any of those iron plates without the right tools, from the inside or the outside.

You walked as fast as you could manage, even though your entire body protested in pain. Then finally, you saw a black duffel bag lying on the ground, against the wall. Next to it was a metal ladder that went all the way up to the top.

“Jackson, don’t!”

You heard Tom’s voice, but you felt the presence behind you too late. Jackson hit you in the back of the head with that damn baton, so hard that even he grimaced at how the sound echoed on the walls. You crumpled to the ground.

Jackson stood over you with a grim set to his face. He turned to his brother with a shake of his head.

“She’s a walking welt, and you couldn’t handle her?” he said.

“This is too much,” Tom said in worry. He bent down and held two fingers to your neck. He still felt a pulse, at least, but when he felt behind your head, he found blood. His hand shook as he stared at it.

“If you didn’t want in on this, you should’ve said so from the beginning,” said Jackson. He spun the baton in his hand and clipped the hilt to his belt, from a small metal loop on the end of it.

“You didn’t say anything about…about this!” Tom argued. He cleaned your blood off on his jacket.

Jackson regarded his brother with disappointment, and he hefted you up into his arms. Tom followed him back to their setup with your makeshift prison. There Jackson left you lying on the ground, and chained you back up by your wrists for good measure. He then literally and figuratively wiped his hands of you.

“Come on, we’re leaving,” he said. “For good this time.”

Tom looked at you, then his brother in shock. There was even emotion in his eyes.   

“We’re leaving her to die,” he said, his voice unsteady. He knew then, that their mother wouldn't have wanted this in her name. If she saw both of them now, she wouldn't recognize them.

Jackson grabbed his younger brother where his neck met his shoulder. An iron grip.

“And what do you think Soldier Boy is going to do if he finds us?” Jackson asked. His gaze encouraged Tom to explore that reality for a moment.

Jackson nodded at your unconscious form. “Trust me, that bitch was never going to talk. But this is almost better.”

It wasn’t right, Tom thought. He knew it, deep in his heart, but he wasn’t strong like his brother, or even like you.

That was when they heard it. The rumble of engines dying and tires rolling overhead, dislodging a few stray pebbles and dust from the ceiling. Jackson’s eyes widened. 

“Fuck!” he muttered. “All right, let’s go.”

Jackson forced his younger brother to leave the sewer with him, and leave you chained up on the floor.

Ben, Butcher, M.M., and Frenchie had done much of the legwork in tracking down Jackson Rawlins and his brother Tom (with help from Annie, Kimiko, and Hughie of course). Frenchie had found your likely location with a powerful thermal scanner, courtesy of Grace.

Now, they’d driven up to the wide alley in the city and blocked off all the exits on the block. Ben was the first to get his boots on the ground and stride toward the point of entry, where according to Frenchie’s scanners, more than one body was holed up in the sewer. He held his shield at his side and at the ready when the manhole cover loosened, and slid open.

A small gas bomb rolled out towards his feet, but it was just tear gas, not the kind of thing that could actually affect him. Ben picked up the little round ball of metal and crushed it in his hand. While the rest of the team dove for the oxygen masks stored in the car, Ben stalked forward.

Seeing the silhouette of a man, Ben threw his shield hard enough to rattle a supe.

Jackson Rawlins was thrown clean onto his back with a force that stole the breath from his lungs, even through his gas mask. It also broke half a dozen ribs. Ben was soon bearing on top of him and ripping off the mask.

Jackson cried out as remnants of the tear gas seared his eyes.

“Got us a runner!” Butcher shouted. He intercepted and grabbed up a second man who tried to escape. Tom Rawlins wasn’t the threat, but he still wasn’t going free. M.M. and Frenchie also dove down into the sewer to try and find you after they got their gas masks on.

Meanwhile, Ben hauled Jackson up by his neck and walked him back until he hit the brick wall beside a nail salon. Jackson grunted in pain. Every breath he took was now agonizing, thanks to his now battered and broken ribs.

“Where is she?” Ben demanded.

Jackson actually laughed in his face, despite his now bloodshot eyes.

“All you fucking supes are the same,” he said. “But you…you’re the worst. Quite literally, the original asshole. And what does the government do? What does the world do? Gives you a pass on decades of indiscretions, fuck ups, and straight up murder.” 

Ben didn’t outwardly react, but he knew what Jackson’s problem was. He knew he killed the man’s family. Collateral damage—something that had caused Ben more than one argument with you in the past.

But he didn’t care.

He didn’t care, because all he could see in his mind’s eye was a metal bat hitting the back of your head and knocking you clean out. He saw you being taken against your will. Taken from him. And that, he couldn’t abide.

“Where. Is she?” Ben said, as his grip flexed around the other man’s neck. It would be easy. Easier than snapping a toothpick. And he warned, “Don’t make me fucking repeat myself.”

“Dead, probably,” Jackson spat, despite his red and bleary eyes. “Real tough bitch. I see why you’re fucking her…I had me a little taste myself.”

In that moment, Ben couldn’t compute.

His green eyes widened. His breath stilled.

Then his jaw clenched so tight that his teeth were grinding. A fire in his blood and behind his eyes, and fury that burned hot in his chest, almost giving it that nuclear glow.

His hand tightened and choked any salacious words Jackson might’ve spewed out next.

“He didn’t!” Tom shouted out. He was being restrained by Butcher. Ben glanced at them out of the corner of his eye.  

“He didn’t touch her. Not like that,” Tom said. He looked sincere.  

“Shut the fuck up, Tommy,” said his older brother. 

It earned Ben’s attention back. Jackson had the look of a man who knew he was going to die either way.

Ben’s lips curled into a sneer. He took the man’s head with both hands, and slowly crushed his skull. The scream echoed between Ben’s ears, but he was only satisfied when Jackson’s lifeless body dropped at his feet.

He turned to the other Rawlins next.

Tom had screamed as well to watch his brother’s life ended before his eyes. He now stared straight into Soldier Boy’s, pleading wordlessly for his own life. Ben started toward him.

“Please,” Tom said. He tried twisting away from Butcher, who held firm to the man’s arm. The Brit knew all too well, the rage that Ben had in his blood.

“Ben,” Annie tried, and she even stepped forward. Butcher held a hand out against her with a knowing look. It wouldn’t be wise to stand in the way.

“Hey!” M.M. shouted up from down the open hatch of the sewer. “We found her! Need help getting her loose.”

Ben paused in his steps. Tom was shaking, lips trembling, petrified.

Tilting his head, Ben let out a subtle breath through his nose. He began to turn back toward the sewer.

At the last moment, however, he drew his gun and shot Tom Rawlins between the eyes. The man was dead before he hit the ground.

Annie and Hughie flinched, but Butcher and Kimiko weren’t surprised in the least.

Meanwhile, Ben made his way back towards M.M.’s voice, and into the sewer. He heard M.M. and Frenchie arguing about first aid and head wounds, the further in he went. Ben’s dark mood blackened even more along the way.

Once he reached them, he also reached you, held in M.M.’s arms as he cradled your head.

You were unconscious with your wrists locked into heavy chains. The furrow between Ben’s brows deepened, but he got down to his knees beside you and first, broke your chains. He guided you out of M.M.’s arms and into his own, making sure to support your head. Blood was already staining his half-glove and fingers.

It was then that he noticed the small crimson pool lying where your body had been, likely from the wound he could feel at the back of your head. Ben’s mouth trembled the slightest bit, mostly in anger as he drew himself back onto his feet. Your body was littered with bruises, cuts both shallow and deep made by what looked like a blade, and God knew what else.

“I had me a little taste myself,” Jackson had taunted.

No, Ben internally shook that thought from his mind. No, you hadn’t been touched like that, at least, according to the sniveling, cock-sucking brother.

But can you trust that little cunt’s word?

Ben briefly closed his eyes, pressing his lips to your forehead. He continued walking down the hall and towards the light and fresh air of the world above.

You’re gonna be just fine, he promised you, if just within the safety of his mind.

Yeah, you would be all right.

He was going to make sure of it.

AN: 🫣 I'm sorry...BUT, I can promise it will get better (eventually). First, it's going to get worse.

Next Time:

It was a slow process, and it hurt, but you managed to turn your head. You saw a man sitting in the corner with a laptop balanced on his lap. He typed with two fingers at a time, which reminded you of your grandfather. His brown hair fell over his furrowed brows, but his beard was well trimmed.

His head soon raised, possibly feeling the weight of your gaze. His eyes widened a fraction, and he hastily closed the laptop and set it down on his seat before he went to you. You frowned when he came to sit at your bedside, and even touched your cheek with a gentle hand.

“Hey, sweetheart,” he said. His voice was deep and smooth. “How’re you feeling?”

You didn’t have the energy to lean away from his hand, but you did give him a look of weary confusion.

“I…I don’t…who are you?” you asked.

▶️ Keep Reading: PART 2

Ko-Fi Me ☕

Break Me Down Masterlist

Soldier Boy Masterlist

Main Masterlist

BMD/Series Tag List (Part 1):

@deans-spinster-witch @this-is-me19 @waynes-multiverse @samanddeaninatrenchcoat @spalady26

@spnwoman @syrma-sensei @wirdbeimaufhebengebunden @muhahaha303 @123passwort

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@nancymcl @ashbatz @secretdreamlandmentality @kristophalis @wonderland2022

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@spnfamily-j2 @im-a-slut-for-fluff @lacilou @venicesem @mimaria420

@tearsfortheyouth @agalliasi @chriszgirl92 @kazsrm67 @deansbbyx

[crystaltoa]

Shoutout to @lesbioniclepod for reminding me about Whenua's kraata collection

It's really hard to imagine the other Turaga both knowing about and being okay with Whenua maintaining a collection of live Kraata that size. And yet, apparently the others contributed to the collection by catching Kraata in secret over the years and then presumably giving them to Whenua to be put in storage.

And I'd find it hard to buy that the Turaga would think that literally all the Kraata had to be stored in stasis and that killing them was not an acceptable option. Especially since none of them expressed objections to killing Visorak back in the day.

So, my guess is that the other Turaga let Whenua keep a collection of them in stasis so that they could be studied and better understood....

...but his siblings may not have been aware of the exact size of Whenua's collection.

I can imagine him telling the others that they ought to have at least one of each kind of kraata preserved in stasis. This seems fairly reasonable to the others. By kinds, he means kinds of power, right? How many types are there? Eight? Ten? Not more than a dozen, surely.

When he insists that nobody kill any kraata until he's had a chance to look at them and make sure he hasn't already got one of them, they begrudgingly accept that. Alright, they think. But this one's insect control, didn't you already have one of those that Matau caught for you a few years back? At which point Whenua admits that when he says "One of each kind", he's referring not just to breed, but also developmental stage. Alright, they think, he's the expert.

None of the others particularly want a lecture on all the gory details of how Kraata develop, which is of course what they'll get if they try to argue with Whenua. An evil slug wouldn't have that many stages in its life cycle anyway, would it? Two or three maximum, surely.

So the others are thinking Whenua has maybe two or three dozen Kraata stashed away somewhere safe. It wouldn't be good if they were released, but they could handle it if they had to.

Whenua, meanwhile is starting to think he should start a backup collection in case something happens to these specimens. He hasn't lied to his siblings... he said at the beginning that they should have at least one of each kind, and they agreed! So a few backups would be allowed. Maybe three or four of each should be sufficient. Or... five? Hmmm.... he doesn't really trust the number five. Six. Everyone likes the number six!

Anyway.

That's how we ended up here...

[painfullyprickedandticked]

a common debate within the fandom is the annual question of “is striker a supremacist?”

particularly, whenever one makes an analysis on striker, there’s always one comment mentioning “he is a supremacist.” however, there have been, recently, arguments that he is not a supremacist but rather just believes himself to be superior.

let’s look into both sides of this debate and draw our own conclusions.

the argument on why he isn’t:

BLITZØ is the one who refers to striker as a supremacist and blitzø isn’t particularly good at perceiving people. he tends to resort to insults instead (like when he called fizz a “peppy fuck doll” and verosika a “drunken whore”).

if someone’s views contrast with how blitzo sees the world, he immediately resorts to throwing an insult and that’s his perception of the person up until they shake the viewpoint. we’ve seen this with clown boy and we’ve seen him relent with verosika. basically, there’s some bias on blitzo’s end towards cowboy snake dude.

a supremacist is someone who believes a certain type of person is better than another. striker doesn’t believe imps are superior to other hell species, he thinks HE is superior to other hell species. therefore he’s not a supremacist, he has a superiority complex. those are two different things.

“what is a superiority complex?”

 examples of evidence proving striker does have a superiority complex include:

he wrote a song dedicated to his own victory in harvest moon festival, with lyrics literally declaring “i’m so much better than you.” he’s always been self-centered, having an overexaggerated self-worth. 

a lot of his anger towards moxxie can be taken as self projections, and same with fizz.

the reason striker mentions to blitzø that the two of them are superior to most of their kind was a manipulation tactic to throw blitzø off of his case when he was caught trying to shoot stolas

it amazes me how many people miss this context when its so clear as day. its also apparent that hybrid imps can sniff out other hybrids, akin to how in real life, if youre mixed race, you can often have a gut feeling that someone might also be mixed.

another point someone made: blitzø doesn’t know about striker’s past. we know striker implied it in western energy, but blitzø himself doesn’t know. if he understood what happened to him, then maybe he’d gain more of an understanding of striker as a person instead of this “evil supremacist” facade he sees.

“"Look. Not every ring is some fancy ass city, with some fancy ass mansion, that only fancy ass royals get to live in. Some of us have hard lives to live. And some of us have everything we care about taken away by fuckers like you."”

I’ll quote someone I discussed this topic with, though I won’t tag or name because I don’t want people to go after them. I’m not here to start discourse—I’m here to explore viewpoints. Here's their take:

“His anger and pain is so genuine and so real, you hear it in Ed’s performance, i don’t get how ppl look at the disgust in his voice and his face whenever things get personal (his speech to Stolas and his reaction to Fizz saying he’s no better than any royal) and take it as he’s putting on an act and lying about it.” […] “Extremist is a better word for him imo than supremacist and he def has some self-racism/hatred going on for sure hence how he put downs imps he feels are lower than him but upholds those he feels meets his standards, if that makes sense yk? It’s about what he sees as weak or embarrassing for his own kind. It’s not actually about wanting any class to be superior, it’s about him and what he thinks.”

it’s important to note, no matter how you view the angle of coding characters who aren’t human – giving them racial coding and all – there is an allegory within the series. imps are the lowest on the hierarchy, and the goetias are merely only a step below the deadly sins and lucifer (+ charlie and lilith). so if we put imps into the minority role, that implies imp hybrids are, well, mixed race.

we notice this in an example of how stella treats imps, even including striker himself.

[attempted script format here. didnt work, lol]

he doesn’t like working for her. he puts up with her because that’s his meal ticket. it’s payment. there isn’t a moral high ground he stands on, but there is a ground where he’s below her and he knows it – he’s exhausted. he’s tired. resorts to a slur because that’s how much she exasperates him. because she’s a privileged royal lady, and he’s at the bottom of the caste system. he cant pick or choose, unlike with IMP and their jobs.

it’s a lot more nuanced than a lot of people are willing to take on simply because some don’t like striker and dismiss everything surrounding his character that isn’t those specific lines talking about superiority or blitzo’s supremacist comment. 

as i finish writing up this section, i wanna make it clear i also like blitzo and stolas and i’m not justifying striker’s treatment of anyone. i’m not being an apologist, but i’m examining this particular case “he’s not a supremacist” because, yknow, you gotta look at the other side sometimes when it is presented in a calm manner and not just straight up character bashing or disrespect to the creator bc “omg my ship didn’t happen” or “whaaaat? the villain was always a villain and NOT a love interest? how dare that BITCH” [these takes exist and my brain melts each time…]

okay, i think im done with this side. ill make the rest pretty concise and cite someone else here who's detailed things for the other side of the argument. thanks to TVM for letting me quote you. im tired to write up the other side because my fucking google doc with these notes got erased. i hate it here!!!!!!!

why striker at least has some Certain Ideals (sigh)

"Blue Bloods"

"Disgusting, rich, pompous goetia"

"Some of us have everything we care about taken away by fuckers like you."

"You don't get to talk over me. . . all you ever do is try to talk over us."

"Once I split your neck open and let you choke on your own blue blood, you won't be worth any more than the tomb stone you'll be buried under."

So . . . first, he doesn't actually say a lot that's solely about royals, and ALL of the quotes above are about how royals look down on people like him, NOT about any inherent flaws that they have. They're about class, not race, unless you count "blue blood" as race. I don't. It's tied directly to money. "Disgusting" comes up in reference to Blitz's relationship with Stolas, but the words "rich" and "pompous" follow immediately. Striker hates royals because he hates that society places them above him.

Imps

"Pathetic."

"You little things aint worth the cleanup."

"Oh I remember how easy you are to choke the life out of, little one."

"Blitz, come on. You know the two of us are superior to most of our kind."

"I still think it's embarrassing. You're wasting a lot of potential relying on a weak little . . ."

"Vermin"

I think that this is where Striker's worldview comes into clearer focus. He thinks that Moxxie and Millie (and by extension MOST imps) are inferior to him. The word "vermin" is particularly telling. There's something visceral about his disgust for "lesser" imps.

I think Striker worries that they reflect who he really is. I think he truly believes that imps are inferior to higher class demons, and he fears that if he doesn't prove himself to be special (through violent dominance), he's vermin himself.

Notice how in the image below, his edge over Moxxie is all about size and physical strength- the things he implies throughout the episode make him the superior being. Look at that wide smile. He loves the feeling of being superior.

Relationships between imps and royals

"You are so above sucking on a disgusting rich pompous goetia . . ."

"kill the unkillable . . . starting with the one that treats you like a plaything."

"Blitzy"

"You two are both embarrassments to our kind for meddlin' with blue bloods to begin with. But at least loud mouth here has the sense to only fuck his rich bitch, instead of being a little purse dog."

"This worthless little pet reeks of his over bloated master. I'll at least enjoy getting rid of him."

Striker clearly sees these relationships as imps lowering themselves. It doesn't seem to occur to him even for a moment that these relationships might involve genuine care because he sees all interactions between social classes as being about power and "who wins."

all sourced from here.

conclusion?

I don’t know how to finish off this post. I was trying to give both sides a microphone and at this point, every time I make a post on Striker, I have to make it clear that I hate the woobification of him from a loud majority who only do so because they’ve got a weird hate boner for Stolas. Y’all might not have seen it, but I have on Twitter. I have seen it from here. I have seen it in fucking AO3 with straight up disrespectful cross tagging of character bashing and actual flanderization (see here on why striker is not canonically ruined), along with straight up kill-fics and thinly veiled disrespect to the creators.

But lately I’m also hating the boring, simplistic take of “he’s just a supremacist” and not analyzing him more than that. He’s such an interesting, complex character in a show of complex characters, and nobody bothers to examine him! They just either dismiss him as revolutionary or a supremacist! They never go into his grey areas or “hey, why is he like THAT?” - no, it’s just the boring same old takes.

This guy has so many layers. He’s a minority within a minority. He’s turned off by sex jokes yet has such rizz. He has an adrenaline rush from fighting. He is self centered yet also emotional. Yes, he’s a dick and a murderer. No, he’s not just a rat bastard and no he didn’t threaten to kill Octavia - he simply brought her up to throw Stolas off. It was more so "shame your kid won't see you again", not "oh im gonna kill your baby girl after i show her your decapitated head". Yes, his layers and tragic backstory yet unyielding thirst for killing when he sets eyes on a target make him interesting. It’s called being a villain enjoyer but no one seems to like a villain for being a villain anymore in his case. They either gotta justify him or they gotta woobify him, or they have to demonize him. I’ve seen people make the worst comparisons and it baffles me.

I just wanna enjoy this rat bastard in peace but then stupidity resurfaces in my head and it’s inescapable at times. Tiring. </3

This isn’t the conclusion you probably wanted if you read this far. Sorry. But I'm at a loss of what else to say atp. I wanna find more normal fans of Striker who aren’t just insane people who woobify him to bash Stolas. And I'm also tired of people who actively bash him trying to weigh in on my stuff. Like... is there any normal enjoyer of him besides @eldritchcreatureofwords ?

Anyway, live laugh love Edward Bosco, bye.

[2jinbi]

hi everyone :3 this is my first time ever writing anything. i’ve never written anything before but i have really bad jjk brainrot right now so i created this account to dump this stuff on. please ignore any spelling mistakes! english is not my strongest suite. im good at it but yk, im not an experienced writer. please feel free to give me criticism. i also dont know if this is formatted right because, well, refer to what i said before lol.

warnings: aged up chars, fluff, slightly ooc, uncle yuuji n auntie nobara 🥹, baby’s name is fumiko (fumi for short), just something fun and short and silly

“no, you can’t eat that!” nobara takes the rubix cube from the infant’s hand. she throws the rubix cube somewhere else as she goes back to filing her nails. she’s left wide-eyed, and you can already tell by the look alone she’s about to start crying. you never understood. yes, she was a baby, but even so, questions are questions. you stop what you’re doing and kneel down next to fumi.

“shh, come here,” your voice is a barely above a whisper. she bursts into tears and starts crying loudly as you place her on your hip and bounce her gently.

“somebody shut that damn baby up, please. focus is key.” yuuji says without sparing a glance at you. he’s too focused on his chess game—you can tell by his body language and posture. yuuji had picked up the hobby literally out of nowhere. you went over to his apartment one day and saw a huge chess board spread across his coffee table. “i learned chess three days ago. todo taught me. he beat my ass really bad. i learned to win against him, and just out of spite,” he chuckles.

“watch it. that’s my kid,” megumi warns. yuuji eyerolls to that—he knew he could never say anything bad about fumi in his presence. it’s not like he did, anyway. he loved fumi like his own; she was everything to him. he wanted to crack a joke but forgot megumi doesn’t joke about his kid. he heaves a sigh and blinks. “well, your kid is distracting me. i can’t focus with the crying.”

“shut up, yuuji. she’s just a baby!” nobara quickwits. fumi had settled down now, but only because she got tired of crying. you know she’d begin again anytime. “she’s right. babies will do baby things. plus, fumi’s teething now, and she’s in constant pain, so she’s bound to throw fits.” megumi defends. it brings a smile to your face.

“you’re not a very good uncle, ‘y’know,” you said amused. you opened your mouth to speak, but nobara got to it first. “beefing with a baby is crazy to me,” nobara raises her brows and whistles. “no way you guys are ganging up on me.”

fumi starts fussing again, and you can see her trying to escape your arms. she’s reaching her father. you frown slightly but walk over to megumi and hand her to him. he smiles warmly at her and kisses the top of her head. “hi baby,” he says softly. yuuji already accepted defeat. he knew megumi wouldn’t finish the game like this. “you’re so cute, baby. so cute,” he cradles his baby. you’re in awe at the sight. megumi never spoke like this to anyone—his voice was never this soft spoken unless it came to you or his daughter. you notice fumi’s eyes flutter, and she yawns. in a matter of minutes, she’s sleeping. megumi walks to your room and places her in the crib.

“she’s sleeping now. don’t worry,” he walks over to you and places a chaste kiss on your lips. “you’re so gorgeous. i love you so much.” you feel your cheeks heat up intensely. nobara audibly retches, and yuuji looks away, embarrassed. “ew. please get a room.” “agreed!”

megumi’s face twitches. “shut up!”