the hand that drops his helm fists gently in her locs, holding her to him as she drags him closer by his cloak, closer, closer, never close enough
....
A rainy kiss for all you lovely people. I know we're having A Time right now but this fandom has been so invigorating to me as an artist and it's full of the coolest and most talented people and I'm happy to be part of it.
(sign the petition if you haven't already!)
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I saw a post about Crystal telling a together Charles and Edwin that they don't act like a normal couple so I give you Crystal telling a not together Charles and Edwin that they don't act like normal friends:
Charles: *Holding Edwins head between his hands and staring him in the eyes* Now you listen to me, if anyone ever even thinks about hurting you, you know that I will do whatever it takes to destroy them.
Edwin: I know, but I don't want to see you put even more responsibility on yourself for my sake, Charles, please let me help you this time. You know I care about you too much to not.
Crystal: Oh glad to see you two finally worked it all out, honestly the romantic tension was killing me.
Charles(who has not worked it all out): The what?
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Charles: "Hey Edwin, did I leave the spyglass at that witch's house?" *gets huffy when Edwin isn't listening* *affecionately mocks Edwin to get a rise out of him* *Doesn't work, Edwin doesn't respond* *Visibly flounders a bit* "Sooooo you've been spending a lot of time with Monty!! You!!! And Monty!!! Spending a lot of time!!! Together!!! Don't forget we're trying to leave Port Townsend!!"
Edwin: *puts book down* *gives Charles the undivided attention and reassurance he so clearly is craving* *apologizes*
Charles, without even the slightest hesitation: 😍
... so yeah basically he's whipped, your honor. I rest my case
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Hypothesis: Aziraphale HATES that Crowley is living in his car.
Supporting evidence:
The very first thing we see him do in the present is stop Maggie from moving out and making sure she feels welcome to stay as long as she likes.
He clearly knows Crowley’s unhappy before anything happens in the plot: “Does it calm you down?”. And also clearly feels helpless about it. Enter the conspicuous Eccles cakes: Aziraphale’s offer, which is rejected.
Crowley’s obviously, for all his hedging, spending a lot of time at the bookshop— so much that he has his own glasses perch and feels immediately comfortable removing them. See also: “Technically my bookshop but we both get plenty of use out of it”, “Why don’t you wait inside? You like waiting inside”.
It’s Crowley who immediately shoves the box of plants into Aziraphale’s arms after Aziraphale returns from Scotland.
Speaking of Scotland, why wouldn’t Aziraphale take the train? Why insist on driving the Bentley? Is it perhaps because he wants to get Crowley and his plants into the shop, and thinks if he creates a situation where Crowley has to stay there, maybe he won’t immediately leave again?
He’s got an empty bedroom and an apparently pathological need to make the person staying there very comfortable, creating cute little customized souvenirs like he’s an Air B&B host (displacement!).
He immediately jumps to having Gabriel stay with him— he didn’t have to. Arguably, both Gabriel and Aziraphale would be safer if Gabe stayed elsewhere.
That’s what I’ve got for now but I’m sure there’s more. Throughout the show, watch what Aziraphale gives to others and does for others, and it’ll tell you what he wants to do for Crowley. He’s living so deeply in displacement in makes him come across as manic and brittle.
(What probably happened is Aziraphale offered the spare bedroom and Crowley, who unconsciously didn’t want to be his roommate or sleep in a single bed with Aziraphale right downstairs because how could the poor lovesick boy cope with that, told him he wasn’t a “good deed” for Aziraphale to do and stormed off.)
Conclusion: Aziraphale asked Crowley to stay at his place, immediately and probably repeatedly. They had a row about it, and Crowley refused, and to this day Aziraphale doesn’t understand why.
And it hurts him.
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One thing I haven't stopped thinking about is that scene where Ed and Stede dine and dash and we get that glimpse as they run off giggling. Because really, more than the hopeful reunion, the soft confessions, more than the anger and bitter jabs, that moment was a glimpse into who they'll be as a couple.
Just a couple of chaos gremlins doing whatever the fuck they want and giggling the whole time, because when they're together the rest of the world fades away, its just them and their silly little whims.
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"He's calling the spirits of darkness... I saw him do this once before when a girl dumped him."
Might I present a one Mr. Charles Rowland! Very pleased with how he came out. One more down, many more to go!
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We need to save OFMD because no other show has managed to embody my very specific queer aesthetic, which is 'ardently declaring my undying gay love with a kiss whilst splattered in the blood of the english soldiers I just cut down with a sword'.
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Totally random but this shot always makes me crazy:
This one, too:
I've rewatched this damn show like 50 times or more at this point and still I find myself always watching Charles even if he isn't the "focus" of the scene because not only is he always lurking and observing but he's also REACTING. Like, full face reactions at all times.
Oh to be a fly on the the wall of Charles Rowland's mind...
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