#i love the character parallels/contrasts on the show

[fatalism-and-villainy]

Piggybacking off of my thoughts here a bit, here are some further musings on the distinction between Will and Bedelia in how they relate to Hannibal -

To put it briefly, they’re both afraid of Hannibal, but Bedelia is afraid of what Hannibal will do to her, whereas Will is afraid of what Hannibal brings out in him.

That Bedelia is afraid Hannibal will eat her, and that her general objection to his entire deal is the risk he poses to her, is pretty obviously established. She’s intrigued by his extra-moral tendencies, but balks when confronted with the reality of what he is. In Florence, her therapy is motivated by a genuine desire to help him, imo, but also by self-preservation, pitting him against Will and continuing to be useful to him so as to prolong her survival. And once she gets away from him, she’s got no inclination to see him again - as she tells Will, “I’ve seen enough of him.”

But while Bedelia certainly has trouble stomaching actual murder (as seen in the cases of Neal Frank and Anthony Dimmond), she doesn’t seem particularly fazed by the mere fact that violence appeals to her. When talking to Will, she owns her urge to crush a wounded bird without any compunction. She might not actually do it, but she’s not troubled by the impulse itself. She doesn’t believe in thoughtcrime! Hannibal recognized her sadistic and destructive impulses, and perhaps even helped make her more aware or accepting of them, but they don’t instill guilt in her or destabilize her sense of identity - she simply finds acting on them disturbing and unpalatable. So the horror in her relationship with Hannibal stems not from having to confront herself, but in the creeping threat of what he’s capable of - and the fact that it’s so much more than what she’s capable of, that she's bitten off more than she can chew.

Will, on the other hand, is surprisingly unconcerned with Hannibal’s murder and cannibalism - at least, insofar as he himself could become a victim of it. He snarks about the cannibalism a few times - “I haven’t been gorged, drowned, plucked, and roasted” in Ko No Mono, and “If you’re partial to beef products, it is inconvenient to be compassionate toward a cow” in Wrath of the Lamb - but unlike Bedelia, he doesn’t seem seriously preoccupied the threat of it. When he discovers that Hannibal has had other murder protégés in Randall and Margot (and makes a connection to Bedelia), what upsets him about the implications as to his possible disposability to Hannibal seems to be less the idea that Hannibal might kill him, and more that the authenticity of their bond is in question - that Hannibal might not be wrestling with the same conflicted feelings that Will is, and that Will is nothing but another toy for him to play with (“wind me up and watch me go”, etc.)

The horror of Hannibal, for Will, initially comes from the shock of the realization of his true nature - starting with Savoureux and continuing into early season 2, the stag man indicates the terrifying dissonance of the fact that someone Will trusted and opened up to so much could have such a monstrous nature, without him realizing it. But in the second half of season 2, it shifts into the horror of Will’s own transformation, and of the blurring between him and Hannibal. He comes to feel, as Chiyoh sums up, that he has to kill Hannibal to avoid becoming him, and that’s reflected in a lot of the most overt horror elements of the latter season 2 arc. The beginning of Ko No Mono - imo, one of the most genuinely unsettling nightmares sequences in the show - features the imagery of Will emerging, screaming, from the stag, which is rendered chrysalis-like - Hannibal’s nature is secondary to the horror of Will’s own becoming. That same episode features the extraordinarily uncanny few seconds in Hannibal’s office in which Hannibal’s face is swapped with Will’s, seemingly listening to himself talk, and then Will is in turn swapped with Hannibal - like the blending of their faces in the final shot of Naka-Choko, the unsettling horror elements are centered on the fear of Will’s loss of himself, of not knowing where he ends and Hannibal begins.

The summation of this is Will’s rejection of Hannibal in Digestivo. It’s not on the basis of Hannibal trying to eat his brains, which in a different story would easily be the “you’ve tried to hurt/kill me too many times” last straw. It’s “I don’t have your appetite.” Yes, it’s deliberately chosen because it would hurt Hannibal the most, but I’d also say it’s true in that it’s the main reason Will wants to be able to walk away from Hannibal - the fact that Hannibal brings out a part of Will that Will himself doesn’t want to face.

To put it another way, Bedelia is pretty thoroughly amoral, and in this she’s actually more akin to Hannibal than Will is. Will does have system of morals - one could even say an overly rigid and punitive one - but his moral compass just starts going haywire whenever Hannibal is around because of Hannibal’s irresistible magnetism (really getting some mileage out of this metaphor). Hannibal sees himself as God, and his values are centered on his own whims and aesthetic preferences. Bedelia’s values are centered on her own self-preservation first and foremost. But the fact that she has this particular quality in common with Hannibal is exactly why it’s so easy for her to walk away from him when she’s had enough. She’s self-possessed enough that she doesn’t need him the way Will does. For Will on the other hand, Hannibal brings about a rupturing of his sense of self. So he’s inclined to set himself up for pain and violence, over and over, in seeking Hannibal out, just to find some kind of clarity. And whether he rejects Hannibal or embraces him, there’s always a sense that he’ll lose some fundamental part of himself.

I would say this is part of why it’s important to Will that Hannibal take something from Bedelia, as she puts it in 3.12. Part of it is his belief that “if you play, you pay” and his moral outrage over her ability to escape without consequences. But I think another part of it is more personal resentment - resentment of the fact that she’s able to let Hannibal go so easily, using her experiences with him for monetary gain without much emotional turmoil. That she doesn’t dwell on Hannibal, doesn’t struggle with her feelings about him, doesn’t feel the same confusion and anguish and longing that Will does. The fact that it’s possible for anyone to have a brush with Hannibal without feeling that.

[amelikos]

Spinel.

[dye-it-rouge-et-noir]

"For particularly important things, it's always more reassuring to write them down like this." - Zhang Beihai

[ID in alt text]

[lunahearts]

Okay I'm doing it. I'm chapter 96 posting.

This is not meant to be a big analysis post this is mostly just me sharing all the little moments that Marcille & Laios show their care for each other because they are SO beloved to me. Join me on the journey if you wish.

(but also the above statement may be a lie. I do have a point here, it turns out, and the point gets at some of my Big Feelings of what Dungeon Meshi has to say about the nature of friendship & living in the world)

So, first of all, the conversation about Laios being king at the start of the chapter. Just in general Laios insisting on presenting himself in his own way here is so good. Character development!!

Before the events of the story he hadn't shared his inner world with anyone but Falin. Now he's like Actually I'm gonna dress up in the discarded remains of my monstersona and that's just how it is.

And even though there are a LOT of parts of the story and bits of character growth that go into this, I think it specifically highlights some interactions from a few chapters ago.

After all, his initial reaction to having been in that monster form & coming out of it was trying to hide from everyone.

And I think everyone helping him put things in perspective here contributes to how he is able to present himself as king. They assure him that he is accepted, despite having just been seen by EVERYONE at his Peak "Weird Monster Guy" mode.

Highlighting what Marcille says here especially:

Going out to "face them with a smile" is EXACTLY what he does. Not right away. He's still pretty stressed in the following scene in this chapter. But he is able to face the crowds with a smile, eventually...

As king. Dressed in the memory of his most vulnerable moments, the most honest expression of his desire.

BUT I'M GETTING A LITTLE AHEAD OF MYSELF. Before the King Laios speech, there's a little moment with Marcille I want to highlight, because...

Did y'all know that by the end of the manga, Marcille isn't like... grossed out by eating monsters any more? Or at least, she's definitely changed her reaction to it. It's Namari who makes the "yeah it smells good despite what it is" comment, not Marcille.

We even get shots later of Tansu, Shuro, and Kabru being kinda grossed out by - but still going ahead and eating - the different Falin foods. Chilchuck also throws out a line about it being surprised that it's good.

But there's no disparaging comment from Marcille, despite the Everything of the situation. I just think that's also a nice little detail. She may not be as far in the monster eating game as Laios, but she's more willing to roll with the weirdness.

So after this little moment, this is when Laios comes out in his new regal outfit. And first of all...

This is such a good contrast to the moment when the group goes to save Marcille in chapter 84. The monsters had stopped attacking, and everyone's reactions to Laios and the others framed him as unsettling. Creepy. Maybe even traitors.

They even use some of the same labels (lord of the monsters/lord of the dungeon, dark lord/demon king)., but the context is that they are disgusted. The parallels in this manga....

Have a tendency to destroy me. What a difference in reception.

Anyway, after this moment, Laios stops to talk to the group... and I'd like to point out again: MARCILLE ISN'T FLIPPANT HERE EITHER!!

Chilchuck is still Chilchuck, of course, and I want to be clear I love that, too. Chilchuck is who he is to his core. His little jabs are very affectionate in this chapter.

But Marcille... Marcille only points to the Winged Lion symbol as being weird, not the monster bits. And like, considering what she's just been through with the lion, being skeptical of that part is... fair.

(don't get me wrong, her "that's fine and all" isn't exactly excitement. BUT the point I'm trying to make is less about her completely changing her feelings & preferences. It's more about how she expresses them, and how she treats Laios and HIS feelings & preferences)

And she continues to be so encouraging!! Wah!! Like, despite, all four of these people definitely caring about Laios, it's Marcille specifically who tells him to relax and just be honest. And you know what? I think that's what Falin would have said, too.

Please also note how cute everyone's little faces are in the crowd:

(see, Chilchuck loves him too!! Look at that fond face, and the cheer. and Senshi! and Namari! They really are such a family)

Laios' short speech actually has a little bit I'd like to highlight as well, since I think it is a nice little reflection of his choice to keep the lion insignia on his new outfit:

"Eat to your heart's content," he says. Not just "enjoy," or "let's eat."

Dunmeshi does such a wonderful job of framing so much about the Winged Lion with nuance, and this is a good example of that. Desire is not bad! Craving and consuming is beautiful. As Laios says when explaining the lion insignia...

It's not just something to get rid of.

So then... on to the feast!

And not only does Marcille not express any grossed out feelings, as I mentioned before... she even helps to gross out Chilchuck!!

Her weird girl powers are only just in their infancy. She will only grow more powerful in time...

As the feast goes on of course we get the group's realization about her hair, and I'd like to point out:

I really feel like they have such similar reactions to finding out about how the other has been affected by the Winged Lion

Just... the quiet concern. Not making a huge fuss, but... worried. Understanding. A little heartbroken for each other.

SPEAKING OF HEARTBROKEN REACTIONS THOUGH. WHAT COMES NEXT REALLY GETS ME.

After Chilchuck braids Marcille's hair for her, the topic of her needing to leave everyone comes up and...

God, these expressions. Every Time I see these panels I think about about what Laios saw in her nightmare. Her fears. The weight of inevitable loneliness, and the way it has marked her. As much as Marcille tries to keep things light when talking about it, he knows what this means to her. And it HURTS.

So he doesn't accept it. But do you notice how he frames this. Do you see. Not "do you want me to fix this." Not "hey I have an idea."

"Would you be willing to stay."

He doesn't know whether she will accept. Whether she will hate the idea, actually, of staying here with him. He's putting himself out there fully prepared for rejection & dismissal, as he has faced many times before.

But his pitch, his proposal to her, it's not JUST an excuse to ask her to stay, either. He's put thought into this. Into what Marcille could mean and do here. Not just to and for him, but for the people of this area. The place he has taken responsibility for.

He's also thinking about Falin. And about all the other little girls, the people of all sorts, just like her. He's thinking about the people who have been killed (burned at the stake???), hurt, shunned. About the people who have been abandoned. The people who are still alone.

He's not just offering Marcille an out from her isolation, he's offering her a new purpose. A new way to continue her work, to do the things she cares about. He SEES her! he understands her.

BUT ALSO HE'S SO NERVOUS OUGH. FIDDLING WITH THE PLATE. UNSURE IF SHE WILL CARE. UNSURE IF HE HAS IT RIGHT.

HE'S NOT GOOD WITH PEOPLE HE'S NOT GOOD AT THIS.

BUT THEY UNDERSTAND EACH OTHER. AND SHE WANTS THIS LIFE HE'S OFFERING HER.

Still... it's not that simple for her, even if for a moment she is swept up in how much she wants this.

Again here, Marcille is working so hard to be chill about the whole 'going west with the elves' thing. She looks absolutely devastated in the first panel, but puts on a smile in the second.

Maybe she doesn't want to bring down the mood. Maybe she doesn't want to burden everyone with what seems like the only option she has. Maybe she had already accepted the cost that might come with bringing Falin back. Maybe after everything with the Winged Lion, she doesn't want to risk letting herself fight for her desires too hard.

But hey. Desires aren't always bad. They aren't something to just get rid of.

A small bit of visual storytelling here... I love that Marcille is confined by the panel, but Laios is stepping outside of it. He's literally pulling her outside of the box she feels trapped in.

Also, I love that his first acts as king are:

1) welcome everyone to a big feast

2) stand by his friend and help her find happiness

It's great stuff and it's so Laios.

In addition to that, I love how this whole act actually plays out. I love that, while getting the elves to let Marcille go, he gets to be extremely cool and protective...

but also like. Not THAT cool and protective.

No really, I mean it! I think it's important! It's important that cool 'suave king guy Laios' is a front he puts up when he needs to deal with these strangers, and one that he completely drops once it's just him and Marcille.

He's not trying to impress her, or convince her he's cool and suave. Why would he? He trusts that she's okay with the messy, often unimpressive, sometimes kinda gross reality of who he is.

And isn't that what Dungeon Meshi is all about? Messy, unimpressive, gross reality. And how beautiful, how wonderful, how very precious it is

Especially when you get to share it with your friends.

[daftmooncretin]

I’m not sure if this is a hot take or not but oh my god in terms of character depth the show has completely eclipsed the original books. obviously lestat was always an insanely fleshed out character because anne rice was obsessed with him but tbh armand, daniel and louis have been given more depth in this 5 episode run then in what 14 books of the vampire chronicles? i mean armand was already a fascinating character to begin with and assad takes what he’s given from the source material and just creates a whole new being with his performance!! plus the additions to his backstory and relationship with louis add a lot i think. but daniel and louis in the source material? they had none of the original armand potential! louis was a white plantation owner.! plus he was incredibly whiney and i always found him flat and kind of two dimensional in the books. how the writers and jacob anderson managed to create the perfect horrific anomaly that is our louis from that…? fucking astounding to me. and daniel??? book daniel is a fine character, sure. but the layers the show added by letting daniel move on from his first encounter and grow into eric! daniel add so much to his charcter!! ITS THE WAY OLD AND YOUNG DANIEL CONTRAST EACHOTHER COMPLETELY AS INTERVIEWERS YET ARE STILL COMPLETE EMOTIONAL MIRRORS OF EACHOTHER. ITS THE WAY THE DYNAMIC BETWEEN THE VAMPIRES AND 70’s AND PRESENT DANIEL SEEM LIKE OPPOSITES AT FIRST BUT GRADUALLY WE SEE ITS BEEN THE SAME BETWEEN THEM THE WHOLE TIMS. DANIEL IS STILL TERRIFIED AND DANIEL IS STILL BRAVE DESPITE IT. HE’S STILL FUCKING SIMULTANEOUSLY PRISONER AND JUDGE. he’s the idealistic boy high off his mind and he’s the cynical dying old man and he’s both and he’s neither. (can you tell daniel molloy is the most fascinating and tragic character in this show) ITS SUCH A FUCKING FANTASTIC PARALLEL. anyway i love you amc iwtv. you are doing such a good fucking job. also thank you eric. i love you eric. your performance both haunts and captivates me eric.

[hauntingsofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[aficionadoenthusiast]

i could point out the beautiful parallels between nico's crush on percy, the crush he developed due to childhood trauma and intense hero worship and hung onto even after he thought his hero betrayed him, and annabeth's crush on luke, the crush she developed due to childhood trauma and hero worship and held onto even after her hero betrayed her, and how both of their crushes are commentary on their upbringings, nico's being how grief and internalized homophobia caused him to latch onto the beautiful hero that saved his life, annabeth's being how growing up neglected and unwanted caused her to latch onto the first person who showed her any attention and how that attachment only strengthened in their shared grief, and how those parallels extended to show how their respective attachments left them vulnerable to manipulation yet ended up not joining the dark side, ironically in part because of percy, either because of the crush (nico) or in spite of the crush (annabeth), and how those crushes contributed to their overall character arcs, nico's being to learn to let go: of grudges, grief, and his own self-hatred as a two part climax on that one page of boo and the cocoa puffs in tsats with will being the catalyst to making him see his own worth, annabeth's being to learn what real, healthy love looks like (a spot of irony: percy taught her this, which is contrasted with her typically being the person to teach him stuff) in contrast to what she ultimately got with luke which was manipulation, because luke, also being a neglected kid, never learned what healthy love looks like, but you guys are not ready to hear that so instead i'll just try not to cry at the hypocrisy of the pjo fandom's obsession with nico's crush on percy while refusing to see annabeth's crush on luke as anything more than a disgusting mistake

[talesofliia]

If Byler isn't endgame, then why…

1. Why do they consistently emphasize the unique nature of Will and Mike's friendship within the party? Why highlight their deep bond and illustrate their special connection?

2. Why does Mike gaze at Will with expressions of fondness, affection, admiration, and longing? Not to mention the times he seemingly focuses on Will's lips…

3. Why do they exhibit strange behavior around each other in s4? If they're merely friends, why the nervousness and awkwardness? Their dynamic sharply contrasts with the rest of the party.

4. Why does Mike feel compelled to insist that "they're just friends" to Will if it's an obvious fact? Could it be that Mike senses something more in their relationship?

5. Why are some of their scenes so romantically coded? If you consider it typical best-friend behavior, try swapping Mike with, say, Dustin or Lucas. Byler's scenes, particularly in seasons 2 & 4, are remarkably moving and heart-felt.

6. Why do they share intimate moments they wouldn't with other friends? And say things that sound rather romantic, like "Crazy together," "Hawkins hasn't been the same without you," "I felt like I lost you," "You're the heart"…

7. Why are some of their scenes so intimate that when interrupted by other characters, Will and Mike look as if they were caught doing something "inappropriate"?

8. Why do many of their scenes include "tender, emotional music playing," reminiscent of scenes with other ST couples?

9. Why are Will and Mike consistently paired up and paralleled with other canon couples? And sometimes with gay characters from other films/shows? I recommend checking out this thread as well.

10. Why do Netflix and the ST cast & crew talk about Byler so extensively? Here's a great thread with all their mentions.

11. Why are there numerous queer references surrounding Mike and his relationship with Will? If unclear, you can check out this channel.

12. Why does it seem like Mike and El's romantic relationship is reaching its logical end? If they were intended to be endgame, why did Mike struggle to say he loved her until he felt forced to? And why didn't we get a passionate Mileven scene after his "love confession"?

13. Why was Will present in almost all Mileven scenes in s4? And why was he the one attempting to piece together the broken elements of Mike and El's relationship?

14. Why make Will fall in love with Mike (canonically!) and illustrate the depth of his love for Mike, only to reveal that Will's feelings are unrequited? This character has already endured so much. In the context of a fictional story, it makes sense for such a good character to have a well-deserved happy ending (including being with Mike).

15. And finally: why invest so much in the beginning, highlighting the unique bond between Will and Mike, creating tension with romantic undertones, only to leave it unresolved and without the exploration it seemed to promise?

I want to clarify that I'm not claiming Byler is a definite endgame. I'm fully aware of the unpredictability of ST. However, it seems like a narrative gap if Will and Mike's relationship doesn't find its logical conclusion, which, in my view, is them being romantically together.

[specialagentartemis]

Friend Like Me: Murderbot's Relationships With Other AIs throughout The Murderbot Diaries

It’s important to me that the thematic core of The Murderbot Diaries is not only about determining what it means to be a robot person in a human world, but about showcasing so many ways to be a robot person in a human world.  And about building relationships with other robot persons to support that self-actualization as both a robot and a person.

So often, in science fiction about robot personhood, the robot character is the only robot in the cast.  Not only that, so often the robot character is the only robot they know.*

When media thinks about AI personhood, or Ais as characters in society, the AI character is often alone.  Alone, and different.  It’s a potent allegory for what it feels like to be an outsider, to be “other,” to feel “off” from the people around you.  Whether a sympathetic friend or a scary unknowable villain, a lot of people can relate to feeling like that.

The Murderbot Diaries is doing something interesting, then, by showing us our protagonist Murderbot, the prototypical robot-among-humans, the robot as a parallel for queer and neurodivergent and outsider-cultural experiences in a world of expected norms, the robot with human friends, the one robot member of an otherwise all-human team… and it can’t live like that.  So it leaves.

So far, the series feels split into two halves: the first four books, about Murderbot learning different ways to be a robot in relationships with humans, and the next three** about Murderbot learning different ways to be a robot in relationships with other robots, and a robot in a mixed society.

In All Systems Red, Murderbot starts off painfully alone. It repeatedly sees other SecUnits as enemies, and believes that SecUnits can't trust each other because they're all under control of humans. It has a very low opinion of SecUnits, including itself.  Murderbot hates being used by humans for violence or for petty reasons, and admits that it wants to half-ass its job.

In Artificial Condition, Murderbot meets ART, a university research ship who loves its crew and loves its function.  It is also free to be a snarky asshole, as Murderbot repeatedly notes (and assigns in its very name).  This relationship to humans—genuinely caring for its crew, genuinely wanting to participate in its research and teaching function—is a very different relationship than Murderbot has had, though ART still needs to keep its intelligence and personality hidden from most humans for its own safety.  Conversely, this is the book where Murderbot meets a ComfortUnit that is blatantly being abused and misused by its human owner, and it hates her.  The contrast between ART and the ComfortUnit displays very different ways of Ais relating to their human “owners”—and what it means for them to get what they want out of life.

In Rogue Protocol, Murderbot confronts this theme most directly, with the bot Miki.  Unlike the implications of secrecy we get from ART, Miki is not hidden from anybody; unlike with the ComfortUnit, Miki is a respected and equal member of its team.  Murderbot has a very hard time believing that Miki is anything but a patronized “pet bot” to these humans, despite the evidence that the humans genuinely consider it a friend and teammate.  Miki has never been abused, and never had to hide.  Murderbot has a hard time accepting that this is a way bots and humans can relate to each other.

But Miki is still, in the classical sci-fi robot-on-a-human-team way, unique; it expresses to Murderbot, “I have human friends, but I never had a friend like me.”

This is a much better way of being a robot among humans than Murderbot has seen before, but it’s still not the ideal Murderbot wants, either.

Exit Strategy brings the theme full-circle and the quartet to a close.  Murderbot faces off against a Combat SecUnit (or CombatUnit; Wells seems to change her mind about this).  The Combat SecUnit represents everything Murderbot has rejected being, everything it has overcome on its journey of self-actualization.  During their fight, the CSU rejects Murderbot’s offers of freedom, money, a fake ID, the opportunity to get out of its situation the way Murderbot has; it ignores the offer.  Murderbot asks the CSU what it wants.  The CSU replies, “I want to kill you.”  The CSU represents the kind of SecUnit Murderbot does not want to be, the kind of robot it used to think it would inevitably be but has now seen so many other ways it can be.  Murderbot says in the same scene, “I’m not sure it [the offer of freedom] would have worked on me, before my mass murder incident.  I didn’t know what I wanted (I still didn’t know what I wanted)…”  But at the same time, the confrontation makes it clear: Murderbot knows some things it doesn’t want, and the CSU is embracing everything Murderbot doesn’t want about being a SecUnit.

If this quartet is about what it means to be a robot, and to be a robot among humans, then the next set of books (Network Effect, Fugitive Telemetry, and System Collapse) is about being a robot among other robots, and a robot in a society that supports both humans and robots.

Fugitive Telemetry makes this most obvious, with its plotline about the free bot community on Preservation.  Murderbot is uncomfortable around them in a similar way that it was uncomfortable around Miki.  The Preservation bots are happy, fulfilled, responsible, mutually supportive, and have a meaningful community with both humans and each other that does not match Murderbot’s experiences of what being a bot, or being a bot among humans, means.

Network Effect brings Murderbot back into contact with ART, and introduces a new SecUnit, Three.  Murderbot navigating its relationship with ART as a free agent and after a perceived betrayal is a huge part of the book.  Murderbot’s disembodied-software-fork Murderbot 2.0, freed from much of Murderbot’s organic anxiety, shows itself much more willing to be social with other bots and constructs.  System Collapse follows, bringing further depth and complexity to Murderbot’s relationship with ART and expanding its interactions with Three, and furthers Murderbot’s integration into the casual bot-human community that is ART’s crew.  It also shows that Murderbot’s willingness to trust and even form tentative friendships with other AIs and systems, like AdaCol2, has expanded.  The way it extends the governor module hack to the opposing SecUnits is informed a lot more strongly by Murderbot 2.0’s interactions with Three than its own previous clumsy attempts to reach out to the CSU in Exit Strategy, or abrupt dumping of the hack on the ComfortUnit in Artificial Condition.  All of these plotlines emphasize Murderbot maturing into not just being a person among humans, but a person recognizing its place and obligations within society that includes both people like and unlike it.

The models of the many ways to be a robot person, and significant relationships and interactions with other robot persons, were and are crucial to Murderbot’s development, sense of self, articulation of its desires, and sense of belonging in the world.  Murderbot isn’t alone, and it’s not the only person like itself that it knows.  When offered a place in society, it is not the only person like itself in that society.  Meeting other AIs, forming relationships with them, was crucial in helping it articulate what it wants in its life.  Its human friends are incredibly important to it!  That doesn’t stop being true.  But so are its AI friends, and the other AIs it passed through the lives of.

This feels like one of the most honest and affirming depictions of what it’s like to feel “other”—that being around only majority people unlike-you, even the ones you like, even your friends, even the ones who mean the best for you and ask you what you need and do everything they can to provide it, can still be exhausting and alienating.  Meeting other people like you—even if they’re like you in unlike ways, and have different ways of moving through the world—shows you the many ways to relate to the rest of the world, to be in the world.  The many ways to relate to other people and to yourself.  The Murderbot Diaries opens up a world where that can be true of bot/construct/AI characters, when so often in sci-fi, their loneliness and alienation is where the metaphor stops.

- - -

*Lt. Data from Star Trek: The Next Generation is probably the most famous example; the only positronic android like himself in existence, barring his evil twin who mostly just needs to be stopped.  Others coming to mind include Becky Chambers's A Closed and Common Orbit, in which the AI character is trying to understand who she is in the context of being surrounded by humans; Alien, the secret android crewmate among humans is a threat, and in the sequel Aliens, the android crewmate is earnestly trying to prove he's not; Space Sweepers has a ragtag crew of several humans and a robot; most of the stories in Isaac Asimov's I, Robot are about a singular robot in a human facility.  The setup "Human crew with their ship AI" is fairly common in sci-fi, from 2001: A Space Odyssey with its tragically antagonistic HAL9000 operating on a logic that would never occur to humans, to Wolf 359 and The Long Way to a Small Angry Planet where the ship AIs are struggling to determine and articulate how they want to relate to their human friends.  Even in Ancillary Justice, Breq is alone and having to pass undercover as human cut adrift from her previous life as a ship's AI. (I know this changes later but I have not actually read the rest of the trilogy)

**as of System Collapse

[autisminabox]

I’m going to be discussing spoilers from the new update, specifically entailing Eddie. Spoilers are below the cut, so, like. Spoiler alert

One thing that stuck out to me right before Eddie “goes to Toyland” (which is what’s implied to happen) is the anger he felt. To me it felt incredibly out of place. Out of place for what’s supposed to be a children’s show, and out of place for Eddie.

We’ve seen Eddie in situations substantially worse for his staying focused on the job than people not having any mail. We’ve seen people jump at him, get pressured into literally lifting other people (and possibly a fucking house), and was too nervous to speak up for himself. We’ve seen him take a lot of shit from both Howdy and Barnaby in the audios, and he more or less took it on the chin. Julie overwhelmed him with her business game, and instead of getting frustrated, he just kind of… curled up.

So this strikes me as particularly odd. There are two explanations I can think of to explain why it happened. The first is a theory I’ve seen floated around about the puppets slowly deviating from the in-universe writers’ design. We see this contrast between how everyone acts in the books and ads and how they act in the bug audios; Barnaby had a twinge of meanness, Julie had a personality beyond being ADHD incarnate, Frank expressed kindness. It’s not out of the question. The second theory is based off of a few observations from earlier on: Eddie is notably from out of town, and is loosely implied to have moved in last out of the main cast. It wouldn’t be absurd to say that this leads him to being “not with the program”, even if him being the newest addition is only in-universe for the show (as opposed to him being literally constructed and written last)

The second thing that was prominent to me was Home’s response to Eddie entering Toyland. This is quite plainly conspicuous and intentional, but I wanted to bring attention to it because of the interesting implications of it. First off, Home is pretty much confirmed to be sentient now. I’ll be damned if there’s any coherent counterargument that doesn’t boil down to going “nuh-uh”. Second, Home is at minimum recognizing that something is happening to Eddie. It’s not clear whether Home is aware of what specifically is happening to Eddie, or whether or not Home had a hand in setting off the incident, but the fact that home recognized that something was happening to Eddie nearly instantly solidifies how intelligent and aware Home actually is. This isn’t inherently surprising, since we’ve already gotten word-of-God confirmation that Home has repeatedly beaten Frank at chess, however, this is the most pointed and direct example that we’ve seen in the actual project.

Third, the fact that Eddie specifically had The Horrors™️ enacted upon him first specifically (at least, as far as we’re explicitly aware of; It’s unclear whether Wally counts as having experienced The Horrors™️ or if he is the arbitrator of them. More on that later) lends to some very interesting suggestions. Five possible explanations I can think of work as follows: One, he knew too much about either the nature of whatever specifically is weird about Home (town), whether that be Home (house), Wally, another character, the monsters of the night, something else about the night, or he knew too much about his nature as a fictional character. There is some speculative support for this; first, the aforementioned outsider angle that he’s been played with, and second, his parallels to the scrapped character Sunny. Sunny was the most recent to move in within the beta continuity, he was the love interest for Frank, he was smart and likely knew too much, and he disappeared first. Two, his outburst earlier in the day proved to be too out of character and thus a risk and liability to whoever was in control of what happened to him. Aside from my above breakdown of that scene, and from the fact that there’s very prominent examples of Playfellow and Marlo (or perhaps Wally, if for whatever reason Evil Wally ends up being true) blatantly straightwashing characters and possibly suppressing free will of the characters, assuming that’s what we’re meant to take away from the bug audios. Three, Eddie realized the actual absurdity of the Pea On A Plate and “woke up”, lucid dream style. I don’t really like this interpretation, since the fact that it’s in several promotional materials and companion merchandise suggests that it was an absurdist humor bit in-universe, which isn’t farfetched considering how children’s shows tend to be. Four, there’s another reason that’s yet to be revealed as to why Eddie got selected first. To be a total Devil’s advocate, we’re still relatively early in what’s looking to be a very slow-paced story. We’re not gonna have all the details, and red herrings are going to pop up, intentionally or otherwise. Five, Eddie was selected randomly or with no actual reason.

There’s also a few possibilities for who sent Eddie to Toyland, which is interesting to me. First, it could be Home. It wouldn’t be surprising considering its mysterious and noted uncanny nature, and its prominence during that scene. Second, it could be Wally. While I personally don’t find it to be the most reasonable, since something of this magnitude being perpetrated by a character we have a face to would likely involve that character, there’s enough evidence of Wally acting aware and generally odd where it isn’t completely absurd. Additionally, it’s entirely plausible that Wally’s conspicuous absence during the entire arc is indicative of some sort of guilt. Third, the show writers, someone at Playfellow, or another party along those lines somehow caused it, either by technological or supernatural means we don’t know about or by some accidental bout of supernatural fuckery, such as rewriting something and it having bizarre effects on the characters. It’s out there, but not out of the question considering the weird shit they’ve done. On top of that, it’s not impossible that another entity or force somehow caused this that either hasn’t been revealed or explained yet.

As to what Toyland actually entails, I’ve concocted a few theories. One, he literally got up and mentally teleported to a land of giant toys. Two, it’s full Star Trek mode and there’s Horrors™️ so mentally stimulating that the only way it could be perceived by either us or Eddie that that’s all it can be perceived as. Three, Going To Toyland is some sort of initiation, rite of passage, or method of psychologically controlling the cast that everyone else either doesn’t realize is happening or has their memories of it forcibly suppressed. This could be supported by the aforementioned “Eddie is an Outsider” and it’s possibly his first Homewarming since moving to the area. After all, a housewarming is a celebration that welcomes and initiates someone to the neighborhood; would it be that odd that Homewarming is a twisted version of that?

Anyways. Those are my observations and a bunch of interpretations. Part of why I love this project so much is how mysterious and unclear the exact details are, creating excellent suspense and a drive to theorize, and leading up to a truly gobsmacking reveal or conclusion. This update certainly delivered. Whatever the answer is for any of the branching paths I described, it’ll almost definitely reveal how truly fucked up the perpetrator is (or, alternatively, how utterly fucked up the situation is in general, if there ends up not being an instigator) for, y’know, doing that. Clown and Co., you’ve certainly outdone yourselves, and the wait was worth it; this speculative theorycrafting this update has provided is absolutely incredible.

[vidavalor]

Fish: A Good Omens Sex Meta Thing

A deep dive meta on fish and that deathless death.

NSFW under the cut. TW: Mention of Satan's attacks on Crowley. Also for those who asked me for more on the Ineffable Husbands and trauma-informed partnership.

Aziraphale, listen to me. The supernatural world? It's a mess. Life under the sea is better than anything they've got Up there...

This is basically the requested "Crepes 2" but you don't have to have read that first. I did link it at the bottom if you have not and you're interested in more meta like this one. Thanks for reading. 💕

Couples. Romantic and/or sexual partners who have an understanding of a mutually-agreed upon level of commitment to one another and their relationship. Frequent celebrators of special occasions.

"A team-- a group; group of the two of us." A couple.

Special occasions. Notable life events celebrating milestones and past days significant to a couple's relationship.

"For special occasions." Why Aziraphale bought one dozen cases (144 bottles) of Chateauneuf-de-Pape in 1921, as he either tells or reminds Crowley on the walk to the bookshop in 2008. Only "a few bottles" were still left at that time, according to Aziraphale, after 87 years of Crowley and Aziraphale celebrating special occasions enough times as an unofficial couple between 1921 and 2008 to have drank almost 144 bottles of the wine they only drink on special occasions.

Wedding anniversary. A special occasion; the "big one" of a married couple's special occasions. Celebrated annually by married couples as a romantic day that honors their commitment to one another. In S2, the day of The Meeting Ball is the night that Armageddon: Round Two gets underway. It is also the wedding anniversary of...

Mutt and his beloved spouse. The lovely magician who owns Goldstone's Magic Shop in 2023 and his beloved spouse, who is dry-witted, trans and had on a dress the color of Crowley's eyes at The Ball. Paralleling characters to Crowley and Aziraphale.

Anniversary. For partners who are not married, usually celebrated as a day of significance in their romantic relationship, chosen for its importance to them. Almost always related to a "first" in the relationship, like the day they first met or on which they had a first date.

"This is The Big One, Crowley..." What Satan (while impersonating the voice of Freddie Mercury) said to Crowley about Armageddon while assaulting him in 2008, on the night Armageddon: Round One began. Crowley was supposed to be having dinner with Aziraphale at the time.

The 1.01 sushi scene. Our re-introduction to Aziraphale in 2008. A series of indicators that we learn throughout the course of the season teach us that Crowley was supposed to be with Aziraphale in the Japanese restaurant on this night before he was delayed by Hell, assaulted by Satan, and forced into helping to start Armageddon.

Various scenes in S1 show us that Crowley always comes up on the same side of Aziraphale if he is approaching him from behind when meeting him but we don't yet know that in the first scenes of 1.01. As a result, we might not immediately realize that the reason why Aziraphale opens his eyes and looks to his left after hearing a miracle chime in this scene is because he expected that it was Crowley arriving to meet him after having been running late. In reality, it turned out to be Gabriel on his right-- which Aziraphale first sees in a mirror and which will be mirrored in additional scenes in the show (Crowley dragged to Hell in 1827 and the Gabriel statue on the other side of Aziraphale, etc.). Dialogue from the scene set the next day in St. James' Park that we will look at later on in the meta also confirms that Crowley was supposed to be with Aziraphale in the 1.01 sushi scene.

The sequence of scenes at the start of the 2008 minisode also sets this up by giving us Crowley alone first and letting us revel a bit in how fun he is and like him even more. The contrast with Hastur and Ligur establishes for us that Crowley is about a trillion times smarter and more enlightened than these guys. It's the second scene with Satan, though, that exists to show us that while some of the demons are just idiots, demonic life for Crowley is actual hell.

The "Bohemian Rhapsody" he so endearingly rolled up blaring in The Bentley comes back and now takes on a nightmarish tone as Crowley receives instructions from Satan while driving The Bentley and we learn that Satan can possess him at will and Crowley's sunglasses-- even in the dead of night while driving alone-- start to make more sense. They're a defense mechanism but he's actually defenseless in the face of this threat. It's from watching Satan get in-- through the radio, taking over the music, speaking through the voice of a non-evil entity, jumping through the air and through Crowley's sunglasses through his eyes and into his mind and rendering his body immobile while he's driving The Bentley-- that we are taught the core of what it means to be a demon in Good Omens.

The demons belong to Satan, in Satan's view. They are part of his collective of souls who exist to serve him. They are not individual people existing independent of him. There is no such thing as bodily autonomy in Hell.

What Satan does to Crowley in 1.01 is a metaphor for sexual assault. It's a forcible attack on his body against his will and without his consent. Though the scene is mercifully short, we are left with the awareness that it is short for reasons of the plot in this instance-- because Armageddon is beginning and the purpose of the attack in this moment is to give Crowley directions on delivering the antichrist baby. The scene, though, shows us that Satan can do this to Crowley whenever he wants and Crowley-- an otherwise very powerful being-- has no known defense against it. Crowley is unsurprised by it and that, plus all his various defensive layers already in existence in 1.01, show that it has happened before. Crowley has been on Earth for 6,004 years in 2008 and the implication here is that these assaults have been happening periodically the entire time and are among the issues most responsible for the PTSD symptoms he shows throughout the show.

It's off of this assault, though, that we segue into our re-introduction scenes of Aziraphale in the present and they are, at the start, the exact opposite of this nightmare that Crowley is living. As Crowley is attacked in his car on a dark road alone at night and then has to narrowly avoiding killing a man in an oncoming truck, we move over to Aziraphale's world, not yet realizing that this is the world that Crowley lives in when he can get away from Hell-- that it is actually their world together.

Aziraphale is presented with the sushi from his friend who has prepared it specially for him and we listen to Aziraphale thank him. The Italian of "Bohemian Rhapsody" (symbolic in this moment of Dante's Inferno and Hell) gives way to Aziraphale speaking Japanese (symbolic of mindful living.) The tone is all kind and gentle-- respectful and peaceful. We then get what is, really, the exact opposite of what just happened to Crowley, which is Aziraphale taking a slow breath with his eyes closed, inhaling the scents of the brine of the fish and vinegared rice and the herbs, and centering himself in the present moment as part of the experience of enjoying his meal.

The immediate contrast is drawn between Satan-- Crowley's rapist, who terrorizes him-- and Aziraphale-- Crowley's partner, who loves him, and with whom he has the kind of consensual, mindful, sensual experiences he was supposed to be getting up to on this night when Armageddon began instead.

In S2, the importance of the sushi scene from 1.01 returns as it is mirrored during the attack on the bookshop. Once again, Crowley is away from Aziraphale when he should have been there by that point and Aziraphale is worried about him. Present instead is, once again, Gabriel. This time, Gabriel has undergone a bit of a Jim journey. (Aziraphale offering him hot chocolate instead of tea in 2.01 was also set up by the sushi scene, as it's off of Gabriel being grossed out by the "rose matter" tea, showing again how important the scene is.) In S2, Gabriel is with Aziraphale again, this time pushed back further into the bookshop, and where are they in the bookshop-that-represents-Aziraphale during the sushi scene mirror? They're upstairs, on the landing.

Specifically, they're just inside the top of the stairs in front of a room, the door to which we are shown several times in S2 but which we have not yet seen open.

We have gone into the room next door to it-- that's the guest bedroom, where Gabriel stayed during the season. By process of elimination and out of an idea of convenience here, the room we haven't been inside of that is located at the very top of the stairs is almost certainly Aziraphale's bedroom. So, we've gone from S1 and having Gabriel show up unexpectedly while Aziraphale mistook him for Crowley while he and Crowley were supposed to be having one of their sexy meals together to S2 and Gabriel now there in the mirror scene in front of their bedroom, drawing a bit of a correlation between what these two scenes are both about.

There's also something symbolic to the idea that S2 uses invitations and doors and rooms in the bookshop to symbolize Aziraphale himself and who he lets in and whose voices he is, for better or worse, listening to at different times-- with his mental health crisis being symbolized by the bookshop being essentially overrun to a point that anyone can now get in. The one room that is shown to us but the door to which never is opened in S2 is the bedroom door. The bookshop can get overrun and others can get deeper into it than we've seen before-- demons in the living room, Maggie and Nina and Gabriel upstairs and in the back kitchen table area like the family they've become-- but the bedroom door stays closed because only Crowley and Aziraphale are allowed in there. No one but them can open the door. Metaphorically-speaking... and probably literally as well.

As the sushi scene is paralleled in S2, we get Shax there bullying Aziraphale. Shax is jealous of Aziraphale and his relationship with Crowley and she also fails to understand it because she sees Crowley as a demon like her and presumes he's as dark as she is, having no idea that Crowley's demonic schtick is an act to survive. She gives voice to these questions (and to Aziraphale's most illogical self-doubts-- but self-doubt is never logical...) when she asks:

"Aziraphale, what *are* you? Crowley's emotional support angel? The softest touch? The one who went native? Do you need more big, human meals, Aziraphale? Shall we send up *the sushi*?"

Shax is actually doing something here, language-wise, that the show first did with Hastur in 1.01, and that's making them both useful idiots when it comes to language. Remember Hastur's mistranslation of "ciao" as Crowley leaves the graveyard with the baby? What Crowley said was, as we know, Italian-- Hastur got that bit correct-- but instead of translating it in his mind as meaning the "hello"/"goodbye" that "ciao" means in Italian, he confused it with its homophone of "chow", which he said "means 'food'." It does but in an informal way or in reference to food given to animals.

This is darkly ironic in the scene because of where Crowley is headed in the next scene-- and where he's supposed to be during both scenes. He's supposed to be "chowing down"/having food-- having dinner-- with Aziraphale and food is, as we'll learn over the course of the 2008 minisode, euphemistic for sex in Ineffable Husbands Speak and symbolic in relation to it in the show itself overall. Instead, Hastur isn't entirely wrong when he translates "ciao" as "chow"-- and he might have done so unconsciously in his mind because he knows Satan is going to contact Crowley with instructions soon. He sees Crowley as "chow"-- in the sense of food fed to the animal that is Satan.

In 2.06, while Crowley is taking Maggie and Nina to safety outside the bookshop, Satan is mentioned when Shax demands that Gabriel and Beez be given to her to take "as gifts for Our Master Satan." Dagon-- Head of the Dark Council and not known for mincing her words-- replies that Satan "wouldn't want them... maybe as hors d'oeuvres." Not a single person in the room-- which contains almost every major non-human character in the show shy of Crowley-- disagrees with this assessment. Rape is not about sex-- it's about power-- but in a show that uses food as euphemistic for sex on several different levels, Dagon's comment is chilling.

It not only takes the attacks on Crowley that are already a metaphor for sexual assault and codes them through food in such a way that the feeling you get from the 1.01 Satan scene-- how it comes with an implication that the assaults aren't always a delivery of instructions-- is correct and that, unsurprisingly, Satan is a rapist in every way possible, but it also sees someone who would know in Dagon state that Satan would not actually care that much about Gabriel and Beez. He'd rape 'em, sure, is what Dagon is saying. He's Satan. But they would be just hors d'oeuvres. They're not who he's really fixated on.

The Grand Duke of Hell who betrayed him and their former Supreme Archangel partner are not interesting to Satan is Dagon's statement and not a single person in the room challenges that. No one says anything about it and the scene is deliberately structured so Crowley is not in the room when it's said to create this reaction in the others... the implications of which are just horrible where Crowley is concerned.

Back to Shax in the bookshop attack scene...

Shax parallels Hastur here because they are using her lack of language skills to highlight something to us by what it is that she doesn't understand. Much like with Hastur unintentionally spelling out what's really going on through mistranslations of words, Shax is trying to bully Aziraphale and she's tossing insults at him that are, actually, in the alternative meanings of what she's saying, the answers to the very questions she's been asking.

"Aziraphale, what *are* you? Crowley's emotional support angel? The softest touch?..." In insulting Aziraphale, Shax is using Crowley's mental health issues as a way of insulting both of them here, which shows how Hell obviously isn't exactly the most trauma-aware place. She's obviously saying that Crowley is comparable in mental health issues to humans (whom the demons see as beneath them) who have a need for emotional support animals. Like Hastur with the "chow", there's an animal comparison being drawn beneath the words used here but instead of the ominous lead-in to Crowley being attacked in 1.01, in S2, we have it about Crowley and Aziraphale, not Crowley and Satan.

So, Shax is calling Aziraphale Crowley's pet, right? And then she calls Aziraphale "the softest touch", which is a phrase meaning someone who is really gullible. What Shax doesn't realize is that the other, human-derived meanings of what she just called Aziraphale are the answer to the question of what Aziraphale is to Crowley.

In British slang, "pet" is a term of endearment. To pet someone is to touch and kiss in a way meant to be sexually arousing-- as in, "heavy petting."

The softest touch. This is, quite literally, the definition of a caress.

In S2, Aziraphale pats his and Crowley's pet-- The Bentley-- but he pets Crowley. The only time he tries to actually pet The Bentley is when he's semi-jokingly making it a sexual metaphor for Crowley. It underscores that Shax is almost there in getting it-- she's just not quite understanding the meaning of her own words-- which are words that, like Hastur's ciao/chow moment, exist to tell *us* something in how we look at them more than to tell the character speaking something.

In effect, we get a whole scene in S2 that parallels the 1.01 sushi scene by defining some more what it's really all about through Shax not quite fully getting it. What is Aziraphale to Crowley? is her question and the answer is the softest touch, just in the other meaning from the way that Shax says it. Aziraphale is kind to Crowley and gentle with him. He's the mindful sushi night in the face of the horror chow of Hell. They love each other. It's soft and sweet and that's why Shax has trouble understanding it-- it flies in the face of what she thinks the demon Crowley would want because of the reputation Crowley has sold everyone on regarding who he is, which isn't who he really is at all.

"The one who went native. Do you need more big, human meals, Aziraphale? Shall we send up *the sushi*?" Aziraphale is the angel who "went native"-- he lives a mostly human existence with Crowley alongside the humans. Shax clearly doesn't eat that much as no one has ever called sushi a "big meal" lol but besides that bit of humor aimed our way, this is more tying of food to sex. Aziraphale likes food and he likes sex and in Ineffable Husbands Speak-- which Shax does not speak-- food is euphemistic for sex. What's unnerving about this scene in this moment is that it plays like the later scene between Maggie and Shax does-- as if Shax is reading the thoughts of the character she's bullying and lobbying them back at her. She might well be doing this here and that's why the sushi comes up-- Aziraphale is thinking about it because Crowley should be here and isn't and Gabriel is right near him instead and it reminds him of 2008. (This wouldn't be the only callback to S1 in this sequence, either; there's Aziraphale explaining the fire extinguishers to Nina not that long after this.) Either way, it's writing designed to directly correlate this part of the bookshop attack with the 1.01 sushi scene to further underline what the 1.01 scene is about.

Okay, so, let's look then at why we're so into repeating bits of this sushi restaurant scene in GO and what it tells us about Crowley and Aziraphale's story by what other scenes it ties to...

As the 1.01 episode continues, we get another scene pretty soon after the sushi scene which adds another layer to this by recontextualizing our understanding of the sushi scene-- that's their lunch at The Ritz the next day, in which we learn that Crowley is rather into watching Aziraphale eat and Aziraphale loves it. This then helps to explain Aziraphale's look in the sushi scene when he turns to look in the direction of where he thinks Crowley will be on the left, before it clicks that Crowley is not there and he sees, instead, Gabriel on his right via the mirror on the wall.

Aziraphale hears the chime with his eyes still closed. His eyes are then still on the food when he reopens them and he hasn't had time to see that Crowley is not beside him before he turns in that direction and this is the expression on his face as he does:

That is a pretty sexy little look that was indisputably supposed to be given to Crowley...

In the later scene where they're at lunch at The Ritz, we come in on their meal at the end of it. Aziraphale is on the last forkful of his dessert and we get the idea of kinky lunch from what we see on the tail end of it. But before it? Back at the start of the episode, set the night before? We see that everything that happens the next day at The Ritz actually happens because they weren't able to be together the prior night. It will also help us to understand how Crowley knows about "the fascinating little restaurants where they know" Aziraphale in the St. James' Park scene.

The 1.01 sushi scene tells us that, by 2008, they sometimes sneak out to a quiet, dark place where they think they won't be seen to have dinner together.

What's most notable about the set of this scene in the sushi restaurant is the shocking brightness of one color in particular.

The scene leading into it, as we noted, is Satan's attack on Crowley in The Bentley and that scene is, appropriately, very dark. It's pitch black night outside and Crowley, in his perpetual black clothes, half-blends into the night around him. Flecks of grey and silver are the main sources of light in the scene. The same color scheme tips into the Aziraphale sushi restaurant scene-- with two exceptions. The silver grey remains (Gabriel) and so too does the thick, black darkness but there is more light in the restaurant and it shines over Aziraphale. He looks bright against the black darkness, even though he wears beige. He is the light that is missing from Crowley's scene. But that's not the shocking color to us in the scene. That's the one that saturates its way through the darkness around Aziraphale. That color is...

Pink. The color you get when you mix white (Aziraphale) into red (Crowley). Traditionally, a color of love, romance and health.

Pink plume. The energy field emanating from the bookshop when Crowley and Aziraphale performed a miracle together to protect Gabriel in 2.01. Also: part of Mrs. Sandwich's hair accessory during The Meeting Ball. Mrs. Sandwich represents sex and healthy communication in 'The Whickber Street Shopkeepers and Traders Represent The Stuff of Life' thing the show has going on.

"In the pink." A phrase meaning "in good health."

1967. Flashback scene in the 1.03 Cold Open in which Aziraphale gives Crowley holy water and they discuss their relationship-- specifically, trying to be more openly together. The scene is drenched by the pink light from the sex shops (one called the "Love Shop") that were then in the spot where Give Me Coffee or Give Me Death (symbolic of freedom) is in S2.

Jane Austen. One of the most famous writers to ever live (sorry, Crowley, but she is lol.) Writer of romance novels. A human that both Crowley and Aziraphale knew in the early 1800s. As Aziraphale brings her up to Crowley while they are talking about romance, pink floods the frame through the clothes on the extras in the wider part of the shot besides him. Pink is also present throughout this scene in general, which already parallels 1967 via it being related to set up, The Dirty Donkey and Crowley's turtleneck.

Back to the pink-dipped sushi restaurant in 2008... what else do you notice about this scene that is familiar, now that you've seen all of S1?

Maybe that Aziraphale is actually sitting at a bar? And thought Crowley would meet him there, so they would be sitting at the bar together? Aziraphale also had just spoken at the start of the scene with the restaurant person on the other side of the counter. Where have we seen one of them doing something like that before?

That other rather fish-oriented scene: Rome. 41 A.D....

Rome. 41 A.D.. Aziraphale runs into Crowley in a tavern in Rome. Crowley is miserable and not having the best day of his demon life. Frustrated by the temptations he's been sent to perform for Hell that have him enabling horrible men in the Roman military, he's lonely, tired and grouchy. This initially was worsened by the arrival of Aziraphale, whom Crowley always loves to see but who, in that moment, was a reminder of how broken Crowley felt.

PTSD. Post-Traumatic Stress Disorder. A psychological condition brought on as a result of experiencing the psychological shock of a traumatic event or events. Some symptoms of PTSD include disturbed sleep, difficulties feeling safe, difficulties trusting yourself and others, anxiety, depression, and intimacy issues.

"In the pink." Remember the phrase meaning "in good health'"? Not a lot of pink in the Rome scene... initially. 😉

"Salutaria." What Aziraphale says in toast as he and Crowley clink glasses. Means "to your health." Crowley clinked glasses but quickly looked away, leaving Aziraphale thrown in the moment as to why Crowley was not rejecting his presence entirely but seemed uneasy and was putting up some walls between them that he had not in this way up to this point.

So, why was Crowley doing that?

Anorgasmia. Modern, clinical umbrella term for all issues relating to disorders surrounding an individual's ability to orgasm. If physical or medicinal reasons are eliminated, however-- as they often are-- then anorgasmia is a psychological mind-body disconnect.

Not an arousal disorder. Sufferers of anorgasmia still experience desire, compounding the impact of the disorder.

Secondary anorgasmia/situational anorgasmia. The inability to orgasm unless under certain conditions, such as through self-stimulation (masturbation). The inability to enjoy partnered sex. Extremely common in rape/sexual assault survivors.

(Diagnosis for anorgasmia are related to biological sex but Crowley is able to switch that at will so he'd be both of these, which are fundamentally the same thing.)

Hot Water Boiler. Device which heats up water in a house or apartment. In S2, a metaphor for anorgasmia.

In S2, Shax is living in what used to be Crowley's apartment and asks him if he knows how to fix the hot water boiler, as it has "two yellow lights" and isn't working. The point is that this used to be Crowley's apartment. Crowley, in 2023, knows how to get beyond a bout of it. He's fixed his own metaphorical hot water boiler-- and also the literal one when he used to live in that apartment. And while he's being sarcastic because Shax won't stop hounding him and Aziraphale, he's also giving her the most sage advice he knows, as he has continuously been doing during the season. In this case, it's to self-love a bit (which is actually prescriptive for anorgasmia in our modern times as well.) That he does is suggestive of the prior issues with secondary/situational anorgasmia.

Alcohol (in Ineffable Husbands Speak). As we looked at in the Crepes meta: Surface layer: alcohol. Hidden language layer: Sex. Quite extraordinary amounts of alcohol. An extremely alcoholic breakfast at The Ritz.

Whiskey. Alcohol. What Crowley orders in a bar. Usually Talisker, which is a single-malt scotch. (Scotch being whiskey made in Scotland.)

Broken bottles of whiskey. What was in the case Crowley brought Mrs. H in 1941 at the start of the sexual metaphor that is The Bullet Catch.

Trauma-informed partner. Modern term for a romantic and/or sexual partner of a trauma survivor who is aware of the pervasive nature trauma can have on a person and who endeavors to provide a sense of safety-- physical, psychological and emotional-- for their partner and to create a relationship centered on healing and recovery, rather than one that causes further distress.

Frequently survivors of one or more forms of abuse themselves, as Aziraphale is. Not expected to be perfect but just to do their best by their partner.

Characteristics of trauma-informed relationships include kindness, empathy, mindfulness, gentleness, well-earned trust, a sense of playfulness, and a well-developed shared sense of humor. (Sound familiar? 😊)

The Bentley. Crowley's car and Linus blanket. As sexual metaphor, when Aziraphale is feeling cheeky: Crowley himself.

Driver's license. Documentation that must be obtained in order to operate a motor vehicle. Requires permission, experience, necessary skills, and willingness to learn. In London, not originally necessary to drive upon the invention of cars, until everyone realized what an absolute disaster that was. Aziraphale long ago passed his test and has had a driver's license since shortly after Crowley bought The Bentley. They did not require licenses at that time but always-eager-to-be-thorough Aziraphale made them give him a test to be sure he was truly qualified to drive.

As sexual innuendo: Crowley, we're absolutely ridiculous. You won't give up your car and I wall myself off in a fortress of books I can't part with but you've been "in my bookshop" and I've been "driving your Bentley" for an absurdly long amount of time. We even swapped bodies a few years ago. It might not actually be possible to be any more intimately familiar with a person than we are with one another and we both know I had these car keys the moment I asked for them so hand them over. No one was exactly a trauma-informed partner in those days but I was-- aren't I marvelous?😉I'll treat your car as gently as I treat you. Give me the keys or I will just keep going until I run out of car sex innuendo and I should warn you that I have lots more...

Trauma-informed partner. Aziraphale.

Mindfulness. A state of mind that focuses on being in the present moment by being conscious of one's thoughts, emotions, and bodily sensations. A state of the mind being connected to the body and experiencing the present moment consciously and fully. Frequently used to help combat PTSD, anxiety and depression. Also frequently used as a therapeutic intervention for assault survivors experiencing intimacy issues.

Aziraphale and Crowley smelling the magic shop in Season 2 and Aziraphale inhaling the scent of the sushi in 1.01 are both examples of mindfulness exercises. The sushi scene is tied to sex, as the food kinky thing is a form of foreplay, suggesting a focus on sexual mindfulness in bed.

Mind-body connection. What is in need of repair in sufferers of situational/secondary anorgasmia. Sexual assault causes the body to associate a loss of control with being under threat. Whereas people who have not experienced a violation of their bodily autonomy tend to respond to sexual stimulation with a response of pleasure, those who have been hurt have bodies that are wired to react to being touched or to feeling out of control as if they are under threat again, even if they are intellectually aware that the new situation they are in is not dangerous. What is arousing for others can cause a sense of anxiety instead of pleasure. There is also the risk of flashbacks to being attacked.

Healing the mind-body connection requires a trusted partner with whom the person suffering from anorgasmia feels safe and who is willing to help keep their partner in the present moment and help them "re-wire" and recover their body through new, positive experiences.

Asmodeus. The Demonic Prince of Lust. Crowley. A persona to have in Hell to give him big reputation that didn't involve him having to kill anybody and that also acted as a cover for his anorgasmia.

"Crowley." What Crowley asked Aziraphale to call him in 33 AD, just 8 years prior to Rome. An admittance of being mad about Aziraphale.

"What am I supposed to be, an aardvark?" In Rome, as Crowley grows nervous by this wine-drinking Aziraphale who also has nothing to do for the evening that has shown up in his world on a miserable day, he responds to Aziraphale's "still a demon, then?" nervous chatter with a line of his own, asking what else he was supposed to be? An aardvark? Of course, if Crowley was not a demon, being with Aziraphale would be easier and he wouldn't be in this mess in the first place but an aardvark is not just a random animal that Crowley thought up here.

Just prior to this moment, Aziraphale had approached him with "Crawley-- Crowley" and a soft smile. It wasn't actually a mistake on Aziraphale's part but a silent question: is it still alright to call you that? Thanks to S2 and the Job minisode we can see the 33 A.D. scene- in which Aziraphale learns of Crowley's new name-- in a different way. We see it as Crowley romancing Aziraphale a bit-- responding to Aziraphale being obviously a little jealous of Crowley's reputation as the wild Asmodeus with a whisper of how he'd changed his name to "Crowley"-- something that we know now that only Aziraphale understands. In Rome, eight years later, Aziraphale is asking by saying both names if that's still something Crowley feels-- and silently saying he hopes it is by subtly asking and by flirting with him a bit.

Crowley doesn't object to Aziraphale calling him "Crowley" and that encourages Aziraphale to join Crowley, who sends signals that he wants his company, even if he's grouchy. Maybe especially because he's grouchy. He can be grouchy around Aziraphale, who is his friend and will listen.

Aardvarks. Primarily eat ants and termites. In the insect metaphor in the show, humans are ants. (The "ants go marching" of The Flood scene.) Demons were hornets in this analogy but also flies and one could assume that termites might also be a good demonic insect analogy, as termites eat decaying plant material and demolish the dying down into the ground. Since food is sexual metaphor on Good Omens and living creatures are metaphorical in multiple ways, being an aardvark then is being someone who both fucks and kills other demons and humans. Being an aardvark is actually a good metaphor then for what's expected of Crowley in Hell and he obviously has some issues with it.

He doesn't want to kill anybody and he's sitting there wearing Roman military regalia, having been sent by Hell to facilitate some death and destruction in a way that he hasn't been able to Bildad his way out of this time. Aziraphale's presence is always welcome but Crowley's crabby in this moment because he knows Aziraphale is in a place by this point where he wants to sleep with him and they just ran into each other in a tavern and both clearly have the night free and now Crowley's got to decide if he's going to tell the angel or not that he's a disaster of an aardvark.

Aphrodisiacs. A substance purported to increase sexual desire. Named for the Greek goddess of sexual love and beauty, Aphrodite, who has been depicted since antiquity usually nude and on the shell of an oyster (or, occasionally, a scallop), as both are two of the oldest purported aphrodisiacs known to man.

Oysters. History's foremost food-related aphrodisiac... though that's not really proven. A few years ago, Italian and American scientists did a joint study to attempt to prove if oysters really did increase virility. What they found was a very minor increase in testosterone in men brought on by one of the compounds of oysters (which is also found in some other kinds of shellfish.) The difference was so small, though, that the scientists determined that an individual would have to consume a lot of oysters (like, a bucketload) to notice any significant difference. In other words?

Whether it works or not is, like with almost all aphrodisiacs, in the mind of the individual. If you believe it will work, it likely will. It's mind over matter. If you want it to work, it probably will. Thematically, an interesting thing to throw in a scene involving a character deciding he's in a place to work on overcoming psychologically-based anorgasmia.

The ancient Romans were obsessed with the oyster-- particularly the soldiers of the Roman military. Much of the cultural awareness of oysters as having a reputation today as being sex-boosting food is actually rooted to the beginnings of that trend in ancient Rome. Both Crowley and Aziraphale would have been aware of the reputation of the oyster in 41 A.D. and Crowley wearing military regalia might have been one of the reasons, in particular, that Aziraphale chose oysters as an euphemism to convey his meaning.

Oysters. Fish. To eat them, you have first got to get them out of their protective shells.

Adam and Eve. The first humans and the other inhabitants of The Garden of Eden. Parallels to Crowley and Aziraphale. Eve gave Adam food-- showed him the pleasures of eating the apple. It sent them on a path of sensual exploration and Adam, freed by Eve showing him food, gave her sex in return.

The other two in Eden at the time-- The Angel of the Eastern Gate and The Serpent of Eden-- are actually no different.

Crowley tempted Eve but Crowley also parallels Eve to Aziraphale's Adam. Crowley encouraged Aziraphale to try the ox ribs and unleashed the raging hedonist that Aziraphale can be. Rome in 41 A.D. is Aziraphale then realizing just how much they are Adam and Eve. (Something that they become aware of over time and is at the root of things like Crowley dryly saying that it's "time to leave The Garden" in 2019 in S1, when they leave a park to go have kinky lunch together.)

By Rome, Aziraphale is now a devoted gourmand. He also drinks now; he's tried wine at some point in the interim years between the Job minisode and this scene. (This is the first scene in which both Crowley and Aziraphale drink and the first time we see them share a toast-- something that becomes symbolic of them as lovers in scenes in the future, like its parallel scenes in 1941 and 2019-- furthering the suggestion of Rome as the start of their sexual relationship.)

Aziraphale might be in Rome on Heavenly assignment but that's not what he mentions to Crowley, if he is. Instead, he talks about Petronius, whom he assumes from Crowley's military clothes that Crowley will know and whom Crowley does. If referring to, as we suspect, Gaius Petronius Arbiter, then Aziraphale is referring to a being so queer even the historians can't get around acknowledging it-- a courtier who was the taste and style maker of the Roman empire, and who is believed to be the author of The Satyricon, which is basically the foundation of satire in literature but also famously contains a whole chunk of it that is just basically erotica.

Some details of Petronius' life are a little vague so Good Omens is exploiting the wiggle room here to suggest that he actually did own a restaurant. In reality, Petronius wrote in The Satyricon a description of ancient Roman feasts that have been seen as maybe barely satirical because of the whole bacchanalia of the period that Petronius was satirizing. So, by 41 A.D., Aziraphale is moving in wealthy human queer circles in ancient Rome and enjoying all of the pleasures life on Earth has to offer... and he's found Crowley alone in a tavern and is throwing as many of these things together in a sentence at one time as possible to convey an overall sense of would you like to join me?

The Job minisode has already happened. Aziraphale is more than aware that Crowley was enjoying watching him eat. They're both here with the night free and blending in amongst the crowds has never been easier than it was in highly-populated Rome. Aziraphale is used to picking up humans and it's different than it is with Crowley, who is quasi-immortal like he is and his friend and somebody for whom Aziraphale has feelings. There's also something funny about the fact that Crowley is in a (literally) hellish mood and Aziraphale is pretty undeterred and still goes for it. In attitude, Aziraphale is basically like You're in a terrible mood--you need to get laid, Crowley. Lucky I showed up, isn't it? 😂

Meanwhile, Crowley is fully aware of what Aziraphale is up to. He's known since he heard Aziraphale approaching him and has been mulling over how he's going to handle it. The grouchiness isn't just about his bad day-- it's anxiety manifesting as crabbiness. To his credit, Aziraphale seems to get that even before Crowley more specifically shares the source of that anxiety.

So, Aziraphale goes for it and how he does is to pick up on their way of speaking to one another euphemistically that they started in Job's courtyard and introduce food as a way of speaking about sex. This is already amusing in S1 but it's funny as fuck after S2 when we know that the ox ribs have already happened at this point and that that's why Aziraphale is going this route. Aziraphale's like how to see if Crowley wants to smash? Tell him I'm hungry wink wink... 😉

I would also like to point out that they are already in a tavern that sells food. In the wider shots of Crowley in the second half of the scene, a plate of food is on the table beside him. There are oysters *in this bar* lol. Oysters were not uncommon in ancient Rome by this point-- if this conversation were really entirely just about trying this particular kind of seafood, they could just order some from the woman who served Crowley his drink who is three feet away for the entire scene and try oysters right here.

By bringing up Petronius and another restaurant where they sell sexy fish, Aziraphale is laying down an ancient Roman, euphemistic equivalent of do you want to get out of here?

To tell Crowley that he [Aziraphale] hears that Petronius "does remarkable things *to oysters*." To ask Crowley to go to bed with him.

Specifically, to see if the food kinky Crowley wants to go with him to Petronius' new restaurant and try these oysters the human guys are so on about and then go back to where Aziraphale is staying and see if the oysters really do anything to their oysters.

With this one sentence, Aziraphale has just turned "oysters" into three specific, separate-but-interrelated things at once:

1) oysters are fish-- just the seafood itself-- as we're always also talking about the thing on the surface level as well in Ineffable Husbands Speak and this is no different. Petronius makes some yummy oysters, according to the restaurant reviews of ancient Rome, and his new restaurant is an opulent food orgasm of a place and Aziraphale correctly thinks that would be appealing to both of them. He loves to eat and Crowley loves to watch him eat and does Crowley want to go on a little date to do that-- just also with actual sex this time?

2) oysters are aphrodisiacs-- Aziraphale is bringing up the fact that everyone is talking about how eating oysters can increase your sexual desire and bring about more pleasure for you and your partner(s) in bed. Aphrodisiacs are evocative of partnered sex. Not that you can't take them for fun times on your own but most people do not so bringing them up then sets up the verbal italics of "to oysters" that lands Aziraphale's invitation, unintentionally, straight in the heart of Crowley's issues, because:

3) oysters are a partnered sex orgasm-- Aziraphale says he (Petronius) "does remarkable things to oysters" so Petronius makes delicious oysters, which are what you eat to increase sexual desire and therefore what apparently cause you to experience more pleasure for longer and to climax harder... the innuendo is that the oysters (the aphrodisiacs) do things to your oysters (your orgasm).

Surprise twist, Aziraphale...

Crowley has made sure it never occurs to anyone that he has problems in bed and that has included Aziraphale up to this point.

Crowley basically now has a couple of choices. He can gently rebuff Aziraphale's offer, hopefully without embarrassing him too much, and they can try to pretend this never happened, and then he knows that Aziraphale is probably never going to ask him again. Not an option. Who knows when else they might find each other with the night free like this again? and Crowley does want to try.

He can pretend there's nothing wrong with him and stress himself into a disaster, like he's probably tried to do with humans before but they die within a couple of decades and take the embarrassment with them but Aziraphale's going to live for ages, is really his only friend, and Crowley's in love with him. Crowley's self-sabotaging at times but he's also an optimist and a romantic, and it's those things that give him some hope that he might not be permanently broken.

Finally, there's that he can just tell Aziraphale the truth because, let's be real here, the angel wants to try it and like hell is Crowley saying no to that.

So, he doesn't.

(Note the red squiggles on his costume that look pink in the light and like a heart monitor jackhammering-- with anxiety, with arousal-- and the candle that burns a pink flame where the light hits the jug.)

"I've never eaten an oyster." Aziraphale has defined an oyster between them as an orgasm had during partnered sex and that is what Crowley is saying he's never had.

He's also possibly saying that he has never eaten an actual oyster-the-seafood, because even though they were pretty common in Rome in the era, Crowley eats less than Aziraphale does, apparently hasn't been in Rome that long, and has had, until this moment, no reason to try the fish everyone is throwing back to try to increase their sexy times as Crowley's just been avoiding any sexual situation like the plague.

This is both a leap of faith on Crowley's part and a moment indicative of just how much he trusts Aziraphale. He needs every other living being to believe he's Asmodeus but Aziraphale can have the real, unvarnished truth because Aziraphale is the only person Crowley trusts not to hurt him. He knows Aziraphale can keep his secrets and that they have their own private world where vulnerability is allowed. He knows that Aziraphale is his friend beyond anything else.

This is telling Aziraphale that he'd like to try but he's kind of a mess. He doesn't want Aziraphale to feel like it's his fault if this doesn't work and he wants him to know what he's getting into. Crowley has long harbored a suspicion, though, that it would be different with Aziraphale, which is also why he wants to give it a try. If the angel can't help him rewire himself here, no one can.

Emphasizing this is Aziraphale's reaction. If they had been talking about pizza, maybe this reaction would have fit lol but it's clearly not a reaction to learning that Crowley has never consumed one particular kind of squiggly, hard-to-eat, honestly not that great seafood. It's a reaction much more befitting learning Crowley has not experienced something far more delicious and life-affirming than actual oysters-the-seafood.

"Oh-- well, let me tempt you to--" Just consider this moment from Aziraphale's perspective for a minute...

Serpent of Eden Crowley? He is literally the spark that lit the flame of all of humanity here. By tempting Eve into free thought and sensual pleasure, he also empowered her into teaching Adam these things. As a result, Crowley is basically responsible for sex on Earth-- for all of its history. If you live in the Good Omens universe and you've ever had an independent thought, a sensuous experience, or an orgasm, you owe Crowley a thank you note.😂Every play Aziraphale has ever seen, every meal he's ever enjoyed, every human he's ever taken to bed-- all of those experiences are indirectly because of Crowley.

Aziraphale has wanted him for quite literally ever. He compares everyone else to him. No one else has ever made him feel like this. He knows they're attracted to each other but he never felt like he knew what, if anything, he had to offer Crowley. The hottest being he'd ever seen freed him from the prison of his own repression here-- what could he ever give Crowley that was worth something like that? How do you learn together and try new things and adventure together with someone who seems like they're leap years ahead of you and know all the things it took you a long time to find out?

It's at "I've never eaten an oyster" that Aziraphale realizes that the being who freed everyone else got left behind and Aziraphale can fix that. He is good at burning holes in prison walls. Protection and arming others against threats to them and healing and kindness-- that's what he does. He's been here thinking for ages that Crowley would never need anything from him that he knew how to give like this but now he sees it differently. They've shown each other already by this point that they're good at being partners but this one aspect of it always felt to Aziraphale like it would be imbalanced. In Rome, he realizes that it isn't.

Aziraphale doesn't have the vocabulary we have today for these sort of issues and Rome wasn't exactly a bastion of trauma-informed sex lol but he didn't need any of that because he's intuitively good at this. He already knows that it will be fine because Crowley doesn't know it yet but he effectively already told him that it will-- by telling him in the first place. Aziraphale knows that trust and desire are what's needed and that they have those in spades. All he really has to do here is help Crowley relax and get out of his head.

Or, as Aziraphale will put it during the 1941 sexual metaphor that is The Bullet Catch plot: "You do the shooting. I'll do all the hard bits."

What gets Crowley's attention in Rome is how utterly confident Aziraphale is. How empathetic but unpitying. Aziraphale doesn't hesitate and he trips over himself accepting the challenge-- which is awfully cute-- but it's that Aziraphale doesn't treat him like he's broken or seem to see this as daunting that works for Crowley. There is a lot of internalized shame and fear and pain associated with anorgasmia and Crowley has been stewing in this for a very long time up until Rome so for Aziraphale's response to be not dismissive of it but, instead, reassuring, was exactly what Crowley needed. Aziraphale's whole attitude is oh ok no problem should we get going now or..? While he was not happy about Crowley having had difficult experiences before because he doesn't like to think of him in pain, he was really into the idea of Crowley thinking it could be different with him.

Aziraphale really, really, really likes being the person Crowley let in enough for this. Pardon the Crowley pun here but Aziraphale has never stopped crowing about it between them in thousands of years and if Crowley weren't besotted with him, he would have murdered him over it by now. (See: an example in 1941 that we'll look at near the end of this meta and "I had to miracle in the cherries" in Good Omens: Lockdown.)

"No, that's... that's your job. Isn't it?" Aziraphale's use of "tempt" to offer Crowley sex is then something of a joke between them because neither of them are tempting each other in a demonic sense of the word at any time. They find each other tempting though, in the sense that they find each other attractive. To use "tempt" with one another is just to ask each other if they are in the mood for something, not to influence the other into doing anything ("tempt you to a spot of lunch?" and "temptation accomplished" in 2019.)

This is really established first in the Job minisode, chronologically, as Crowley didn't so much tempt Aziraphale to try the ox ribs so much as he just offered them to him and Aziraphale decided to without influence. The same is true for Crowley choosing to try sex with Aziraphale in Rome-- he's really already chosen to by not saying no and that's all before Aziraphale's "well, let me tempt you--".

When Aziraphale replies to Crowley's reaction to the "tempt" line with "No, that's... that's your job. Isn't it?", Aziraphale is teasing him a bit. He's saying he sees through Crowley's massive control issues and that he gets him. You always have to be in control but you don't always want to be. Well, today's your lucky day, Bildad, because we're partners in this now.

Or, as it's known in 2023:

Flame burning pink as Crowley smiles a little for the first time in the scene:

"Oysters! Oranges!" What Juliet (the woman selling snacks) calls out as the opening dialogue in the 1601 scene to entice prospective buyers, the only one of which really is Aziraphale. Oysters-- aphrodisiacs. Oranges-- cinematic symbol of death. Aziraphale chooses...

"Some grapes please! They look scrummy." Grapes. Fermented grapes are wine. Wine is alcohol. Alcohol is sex. We haven't a need for oysters anymore and we shun symbolic death in favor of the little death. The grapes look "scrummy", shortened version of "scrumptious", meaning both "delicious" in food terms and "sexy enough to eat" in people terms. Aziraphale eats them in front of Crowley during the scene.

Oysters. What Crowley and Aziraphale had in ancient Rome.

Oysters. What Crowley and Aziraphale had in ancient Rome.

Oysters (in Ineffable Husbands Speak). Both an aphrodisiac and an orgasm, but...

...since they don't want to bring up anorgasmia every time they're flirting or talking about sex for the rest of their very long lives... and since oysters on their own are really hard to work frequently into conversation and would get a bit old pretty quickly, they need another word.

So, based on what we've seen in the series, it evolved into...

Oysters = Fish.

Fish live in the ocean, amongst other sea creatures.

Fish & sea creatures (in Ineffable Husbands Speak). An orgasm.

Anything related to the ocean (in Ineffable Husbands Speak). A metaphor for sex.

If it is in or lives in water, it's prime material for climatic innuendo. If it has multiple meanings in English? It will be used frequently as part of wordplay. If it pertains to the ocean or lends itself to destructive adjectives (shipwrecks, sea monsters, bubbling seas and rising waves), it will absolutely be a sexual metaphor at some point.

Such as...

Wahoo. A kind of fish. Also: an exclamation of joy. For obvious reasons, Crowley and Aziraphale's favorite fish joke.

In 1941, Aziraphale seeks feedback in the dressing room on their sexual metaphor Bullet Catch performance-- that they are both more than aware of-- and Crowley agrees that it went well and dryly suggests they "chalk up a win for the side of the angel", turning the common phrase that is usually "...side of the angels" singular to reflect only Aziraphale, who is over the moon that Crowley enjoyed it and cheekily replies "wahoo!" before their flirting is interrupted by Furfur.

Decades later, Crowley gives another stellar performance-- the full, epic saga of his M-25 Orbital Disruption-- to the joyless, miserable lot in Hell and concludes it with a line that he plans to tell Aziraphale later to make him laugh:

Carp. A kind of fish. Also means: to stand around and bitch. Aziraphale telling Crowley to stop standing around getting off on grouching and go get Maggie and Nina for The Meeting Ball in S2.

Gravlax in Dill Sauce. Cured salmon. This one is special and we'll look at it in the Dill Sauce meta about the St. James Park scene soon.

Ducks. Waterfowl. Aquatic birds. This is long enough. 😂 They are a whole separate meta.

Pickled herring. A kind of fish, cured in salt. What was dumped out of the barrel by Elspeth in The Resurrectionist minisode so she could use the barrel to transport her corpse. Crowley and Aziraphale spend half the minisode dragging around a barrel that should contain fish (the little death) but actually contains a corpse (actual death)-- foreshadowing the fact that their date will end with Crowley dragged to Hell and the start of the holy water arc of misery for them.

Red herring. A dry, smoked fish that turns red as it is smoked (ooh la la...) 😉 Also: A literary device, in which something is established with the intent of it distracting the audience from something else in the story. Elspeth and her pickled herring barrel are a red herring that changes The Resurrectionist minisode story from what the audience thought it would be into what it is, distracting the audience from the fact that the story actually began with Crowley and Aziraphale meeting in a graveyard at midnight for... ah... reasons. Aziraphale also turned 'red'-- turned to Crowley's side-- during the course of the episode, even as his shot at getting him some "pickled herring" that evening went up in hellfire smoke.

"Sargeant Shadwell." The hilarious, Sean Connery-esque way that Crowley said Shadwell's name in 1967, made funnier by the fact that a shad is a type of fish... and part of the herring family and this scene itself is a red herring. It misleads the audience into thinking we have a whole new plot about Crowley leading a break in to a church that is rendered inert within a matter of minutes when Aziraphale gives Crowley holy water. Shadwell's name is basically 'Fishwell' and, for Madame Tracy's sake, I hope that's true and not ironically funny. Either way, doubtful that Crowley and Aziraphale haven't joked about his name before. Shad also phonetically sounds like 'shag', the British slang word for fucking, and Crowley's tone of voice in the scene had a ring of 'shag' connotation to it.

Kieler Sprotte/Kieler Sprotten. A German smoked herring dish. A hidden reference in the Baraqiel entry in 'The Demon's Guide to Angels...' book that Furfur had in 1941. Baraqiel is Crowley and the entry, based on what's in it, was written by Aziraphale. One of you requested a meta on Baraqiel so that's on deck for now.

Newt. A semi-aquatic salamander. They live in the water but only some of the time. Also: Newt Pulsifier, an extreme parallel of Crowley who breaks all technology he touches, loves his less-attractive-than-The-Bentley car, and falls for a being who has issues with the purpose they feel they were put into the world to fulfill. Newt gets "in the water," metaphorically-speaking, when he has sex for the first time in S1 with the Aziraphale-paralleling Anathema, which is another example of how he's a more extreme version of Crowley, whose parallel to Newt is Aziraphale helping him through his intimacy issues.

Flounder. A kind of fish. Also means: to struggle helplessly in water. "To flounder" is frequently confused with "to founder", which is wordplay intentionally being used by Aziraphale in the "Seeds of Destruction" scene in S1, which we'll look at in the requested Seeds meta soon.

Bananafish. A kind of fish. Also: the first two words of Aziraphale's magic words. Is it "bananafish" or is it "banana, fish"? It's a little unclear and possibly situational. It's also likely both and a reference to wordplay and sex via fish. "The Bananafish" is also a short story by J.D. Salinger about trauma, PTSD and suicide that correlates to S2 quite a bit but we can look at that in a more Aziraphale's-trauma-centric meta.

The 'drunk-in-the-bookshop' scene. Part of the 2008 minisode, in which Crowley and Aziraphale are drunk and talking on the surface about Armageddon but are actually flirting with each other using sea-related terminology to make some drunken sexual metaphors.

Whales and dolphins. Sea-dwelling mammals. Not fish but live like them, alongside them. Damn big brains. Whales, in particular, are their own metaphor in Good Omens-- above and beyond Ineffable Husbands Speak-- but, in this context, they are non-fish creatures that live in the ocean, so Crowley is equating himself and Aziraphale to whales and dolphins in the drunk-in-the-bookshop scene and calling Aziraphale smart and clever in doing so. He is too drunk to come up with how smart they are ("brains the size of... *gives up* damn big brains" lol). His point is that Aziraphale is so smart, which is so hot, and that's his point. Brain city, whales.

Off of this, a drunk Aziraphale has heard Crowley say "damn big brains" and is thinking you know what *else* is big, Crowley?

"Kraken! Oh, great, bigggggg bugger..." Totally plastered Aziraphale is undefeated at Completely Wasted Wordplay, though, and he has a mythical monster and a whole attempt at a sexual metaphor for Crowley here, thanks to whatever brain cells are still kicking around in his damn big whale brain. The Kraken is huge and we aren't just talking about smart anymore, nope... Adding to the humor is the use of 'bugger'-- The Kraken is a massive one and we're talking about both in size and in terms of quite extraordinary amounts of buggery that Aziraphale wants to get up to here...

Giant squid and octopi. Also not fish but live in the sea, much like the whales and dolphins that Crowley had just mentioned and probably one of the reasons why Aziraphale's mind then goes towards The Kraken.

The Kraken. Mythical sea monster from Norse mythology. The Kraken-- and sea monsters, in general-- are thought to be based on giant squid and/or octopi. Particularly before days when squid and octopi were understood, The Kraken was sometimes described as a "sea serpent". Crowley, in Aziraphale's sexual metaphor here, is The Kraken-- is the great, bigggg bugger who is:

"Supposed to rise up-- right up-- to the surface. At the end. When the sea boils." We're talking about Armageddon on the surface but we're talking about sex under the surface and The Kraken is a mythological being who does not exist, making this drunk conversation even funnier. Adam will manifest The Kraken into existence later on in the season-- but, prior to that, the actual Kraken was a myth. Aziraphale and Crowley both know that. Neither of them believe in The Kraken-the-sea-monster. Aziraphale is just using it as a joking sexual metaphor while they're drunk as all fuck to flirt with Crowley using their whole ocean-themed innuendo.

"The Kraken" is "supposed to rise up, right up, to the surface, at the end". The sea serpent going from the depths of the cold black sea to cresting the surface of the ocean at the end of days, which is Aziraphale using destructive sexual metaphor-- using disaster, death, apocalyptic terminology, etc. as a metaphor for sex. Armageddon is the end of days is a sexual climax. "The Kraken" rises to the surface of the ocean "at the end-- when the sea boils"-- when it becomes too hot and there's no other choice but for the sea serpent to come... to the surface. 😉

"There is a lot of 'underlying unspokenness' and it comes to the surface now and again." Michael Sheen quote describing the nature of Crowley and Aziraphale's relationship in S1 in the interview below. I'd bet serious cash he's specifically thinking about The Kraken scene.

Thanks to @procrastiel for showing me the interview.

"Well, that's mah point! Dolphins and whales-- whole sea bubbling-- hard to keep everybody from turning into bouilla--" Crowley's response to Aziraphale's The Kraken metaphor. Actually surprisingly witty at the start considering how drunk they are (it's their damn big whale brains hitting on something every few words lol.) It is, indeed, his point that Aziraphale is talking about-- his boiling point-- but Crowley uses "point" in the other meaning here as well (as in, "that's the point of what I was saying!").

"Whole sea bubbling-- hard to keep everybody from turning into bouilla--" Everybody, eh, Crowley? 😂I thought we were talking about fish being boiled in the end of days here? (Someone ought to get Crowley and Aziraphale to make videos explaining climate change lol.) These fish and dolphins and whales seem like they could be easily mistaken for people? Like, say, you and Aziraphale, hmm?When the whole sea gets bubbling and it's just too hot in here, it might, indeed, be hard to keep you both from turning into...

Bouillabaisse. A fish soup that is frequently referred to as a fish stew, which is what a drunk Crowley calls it. The dish is French and when Crowley is too drunk to get the word out, he keeps repeating the first half of it-- "bouilla"-- which comes from the French verb "bouillir", which means "to boil". He heard Aziraphale's "when the sea boils" and his mind took it to the fish joke of bouillabaisse. To boil is, of course, to cook something in very hot water.

Crowley is too drunk to get the word out in full and repeats the "boil" part of it, getting distracted at one point and calling Aziraphale "baby" while they make hilarious, drunk, kissy faces at one another, before redirecting it with "fish stew-- anyway! It's not their fault."

A bouillabaisse features at least two different kinds of fish cooked together and served alongside one another in the same bowl.

Bouillabaisse/A fish soup or stew (in Ineffable Husbands Speak). Climaxing together/simultaneous orgasm.

"Fish stew-- anyway! It's not their fault." The end of the 'bouillabaisse' portion of the scene and yes, it's not the fault of the actual fish that will be turned into bouillabaisse when the world ends but this is also Crowley thinking of Aziraphale's earlier "hereditary enemies" comment and saying again that it's not their fault, they didn't ask for this. Tossed drunkenly into this getting sloppy sexual metaphor, it's pretty funny as it's also saying wouldn't be their fault if they turn into bouillabaisse later as who could blame them? World ending, been waiting for days, bouilla bouilla baby...

Good thing they sobered up because they were one more bottle of Chateauneuf-de-Pape away from just speak-singing "Under the Sea" at one another. Even the sturgeon and the ray, angel! They get the urge and start to play! That's *mah point*... 😂

"Heaven will finally triumph over Hell." One of the coded things that Aziraphale said to Crowley in the 1.01 St. James Park scene. While the surface layer of this conversation is about Armageddon, they're actually talking on the hidden layer about having not been able to be together the prior night. The key bit to this that I'm mentioning here is the use of the word "triumph"...

Triumph. A triumph is obviously a great victory or success but the history of the word is interesting. It originally meant a victory parade-- a processional-- held for a victorious general upon his return to ancient Rome. It was exclusive to Rome for a time as a word and still is how historians refer to that type of processional.

By using "triumph" in the St. James' Park scene, Aziraphale correlates the would-be sushi night with Rome.

Sushi. Raw fish mixed into vinegared rice, along with other ingredients. What Crowley and Aziraphale usually go out for in the modern era on their unofficial anniversary, which is the date of the first time they had sex in ancient Rome.

1,967. The number of years between the first time Crowley and Aziraphale had sex and when they were trying to meet to celebrate that special occasion in 2008 in 1.01. Armageddon: Round One began on their 1,967th anniversary. A reference to:

The 1967 scene, in which they talk about their relationship, and "dine at The Ritz" is said.

41. The number of years between Aziraphale suggesting they could one day "dine at The Ritz" in 1967 and when they did for the first time in 2008. A reference to:

The 41 A.D. scene in Rome, which shows how they first became lovers.

Well, with one caveat...

Hellfire and Holy Water. Substances produced by the physical corporations of angels and demons which are lethal to one another's "opposite kind"/"enemy." Aziraphale's body can make Holy Water, which could liquidate Crowley into non-existence. Crowley's body can make Hellfire, which could burn Aziraphale into the same.

As such, they spent some time concerned that each other's, em, "hellfire" and "holy water" might be harmful to one another, until they disproved this theory. This historical HIV allegory is alluded to in the "angel-demon, probably explode" Discorporated!Aziraphale scene in S1 (to "explode" also meaning to "explode a theory"-- to disprove it) and also in this scene here, in The Big Damn Sexual Metaphor that is The Bullet Catch:

Aziraphale's dry "just aim for my mouth but shoot past my ear," right?

So, how did they figure out that they wouldn't kill each other?

Kingdom of Wessex. 597 AD. The Camelot scene. Crowley and Aziraphale cross paths in the time of King Arthur and are so damn over canceling each other out at work. After Aziraphale rebuffs Crowley's initial proposal of basically quiet quitting Heaven & Hell-- just doing the paperwork and phoning it in-- because he thinks Michael will figure it out (not because he doesn't want to lol), the two part the scene without a resolution... but the 1601 scene provides that resolution for us via the reveal of The Arrangement.

Back in 597 A.D., after the scene we saw, Crowley and Aziraphale got creative in trying to find a solution to their work woes and wound up experimenting with what they had been told by Heaven regarding what their capabilities were. They uncovered that Crowley could still do blessings and Aziraphale could do temptations. So long as they kept pulling power from their respective head offices, it didn't matter what type of miracle they did and no one in Heaven or Hell figured it out. This then caused them to also realize that if they were biologically similar enough to be able to do the same miracles, then odds were high that they actually wouldn't hurt one another if they had more expansive sex and they decided to try it. They're both still here so obviously the end result was nothing but wahoo. What else is suggestive of this besides the already mentioned scenes? This one, in 1941:

Excalibur. King Arthur's sword. Excalibur's Chest. The famous swords-in-the-box magic trick, on sale at Goldstone's in 1941. Swords are as much sexual metaphor as guns. Note what's between them in the magic shop in 1941 when they agree to perform The Bullet Catch together that night, after a performance by The Ladies of Camelot:

This is part of the reason why they also use performing miracles as innuendo-- besides the fact that there is just a lot of material there lol. It's because it took them 556 years after Rome but they happened into figuring out Heaven's big secret and it freed them to boff each other senseless for the last *maths* 1,426 years as of S2 lol so it's kind of irresistible. An example is Aziraphale in S2 with "the 25 Lazari miracle you and I performed together the other night" which is on the surface, sure, about the miracle they did together to protect Gabriel but which Aziraphale makes actually sound like what they got up to the other night, probably the one before Gabriel arrived. He's talking about Muriel there for the Gabriel miracle but he's saying it with a tone of: I suspect that the angel is here to verify the miracle that was Sunday night. I'd imagine alarm bells must have been ringing in Heaven constantly since. You and I raised the damn dead, old serpent...

The Bullet Catch. A sexual metaphor for both "firsts"-- 41 A.D./Rome and 597 A.D./Kingdom of Wessex-- mashed together because they were similar... but also a metaphor for Crowley and Aziraphale's relationship overall.

The Bullet Catch requires them to trust one another and be vulnerable with one another. It's only possible because of how much they trust in and care for one another. Crowley's ability to fire the gun in a way that won't kill Aziraphale-- which Aziraphale is trusting him to do-- means that Crowley has to trust himself to do it. He has to believe himself capable of it and that he can relax enough to do it. He only believes this because Aziraphale believes it about him and makes him feel safe enough to focus. Aziraphale's trust in him allows Crowley to trust both himself and Aziraphale while Aziraphale's trust in Crowley allows him to let Crowley in enough to let him see his insecurities and be loved in spite of them, something Aziraphale's self-doubts and imposter syndrome keep him from doing with other people. Crowley knows he's imperfect and loves him madly anyway, something Aziraphale has trouble doing with himself and which no one else in Heaven ever has. Crowley's faith in and love for Aziraphale give Aziraphale the confidence to live more freely and feel like he's among the professional conjurers and not just on the outside of life. Their trust in one another helps them trust each other and that self-trust opens them up to experiences with each other that lead to ever-deepening trust of one another that lifts them both in a kind of feedback loop.

"Cheers for, um, getting me off the hook." Crowley thanking Aziraphale for helping him with the Mrs. H situation. He's more than aware that Aziraphale assisting with Crowley's broken alcohol bottles when alcohol = sex to them is more than a little metaphorical for their actual history and he chooses a fish reference as part of the thank you. "Cheers" is that British way of saying "thank you" but it's also obviously what people also say as a toast (which is also a word used to refer to warmed bread, which is also related to partnered sex in Ineffable Husbands Speak.) It's what Crowley actually says in 2019 at The Ritz at the end of S1 in the "Cheers. To the world." moment. Here, it's also a reference to the first time they did clink some glasses together in toast-- the "Salutaria" of ancient Rome. And what is this toast-y thank you of Crowley's for? For getting him off-- that is, for getting him "off the hook."

"Off the hook" refers to a caught fish being taken off the hook. It also became, over time, a phrase referring to communication, from the days of phones with cords. Leaving a phone "off the hook" meant that calls couldn't come through and communication couldn't be had. By 1941, the phrase would have roots in both origins and if we're talking about fish and telephones, we're talking about earlier in the evening in 1941 but we're also talking what it referenced to them symbolically about the past of their relationship. It is also absolutely why Aziraphale jumps on The Bullet Catch as his grand gesture once they get to the magic shop-- he sees a way to continue the metaphor that they're both more than aware of.

It also makes it a thousand times funnier then that poor Aziraphale essentially makes the same assumption about demonic life twice over a bazillion years apart. He thought The Bullet Catch would be a no-brainer, fun thing for them to do because he assumed that Crowley had fired a gun before, only to discover that this was now actually Rome all over again because while Aziraphale has a firearms license and a Derringer hidden in a hollowed-out book in the bookshop, this metaphor was suddenly way too on point because Crowley hasn't fired a gun with someone else around before-- in this case, at all, actually. His dry as all fuck "not as such" response to Aziraphale is well, we both know I've fired the metaphorical gun this rifle is standing in for here but yeah, no, I have no idea how to shoot this thing and I was going to miracle you safe and now those aren't working either so I have to do this for real and I'll just be over here trying not to have a panic attack...

Talking. Making sure the telephone is not off the hook is obviously always a good thing with everyone one trusts around them in life. In a relationship context, feeling safe enough to talk openly with your partner about things which make you feel vulnerable is the mark of a trust and what allows for deep intimacy. Talking in bed-- not just checking in with a partner but talking beyond that-- is a therapeutic intervention for anorgasmia, as it helps someone suffering from it to stay present in the moment. Tends to work in general but even more so if the person involved likes chat in bed as a whole, which a couple of scenes suggest Crowley does (the evolution of it into also some extra spicy chat in the "Seeds of Destruction" scene in S1 and his self-deprecating "you just say 'blah blah blah'" moment in S2.)

"We need to talk." What Crowley says in 1.01 when he calls Aziraphale from a corded public pay phone. This is the first time that Crowley and Aziraphale talk in the present, even if they're in separate locations, and the first time we've seen them interact since the opening scene of the show of them on the wall in Eden. We've spent the first part of the 2008 minisode re-introduced to them separately, not yet fully aware of how they were supposed to be together during it. Crowley doesn't wait until he's back in Mayfair after dropping off the antichrist baby-- he calls Aziraphale from the nearest payphone. He says "we need to talk", a phrase that is, for many, a relationship cliche that comes with a sense of the foreboding but we will learn from this scene also means other things to them.

For one thing, it's a code phrase that automatically triggers them to meet the next day at noon at St. James' Park. If one of them calls and says they "need to talk", they know that it means to meet the next day and when and where. This one they know a lot better than their four million alternative rendezvous spots, as we saw in that other scene in S1 when they set up meeting in the bandstand over the phone. Because it triggers St. James' Park, it means that the initial talk will be all coded in their hidden language, as that scene in 1.01 was, but that is also a form of communication for them and a kind that they actually enjoy.

For another thing, it means that they need to talk in general-- that something is happening and they need to talk about it, as was the case with Armageddon. At the time that they have this phone conversation, they don't yet know that one another already knows about Armageddon starting. We know from all the contextual clues we've already looked at here that they were supposed to be having dinner together earlier and that they also can't say that over the phone so when Aziraphale says: "Yes, I rather think we do. I assume this is about....?" there's a dryness to Aziraphale's tone because a form of talking was already on the menu. Sushi night is Rome and Rome had talking so, yeah, Aziraphale rather does think they need to talk-- to fuck-- and also Armageddon just started so they'll need to actually talk-talk about that as well at some point.

Crowley's response to what it's about, though, is destructive sexual metaphor. What do they need to talk about, on all levels, summed up by Crowley in a word?

"Armageddon." Armageddon: the actual end of the world and Armageddon: their big damn anniversary sex. The Big One. It's an apology of sorts for Hell detaining him and a request that they meet tomorrow.

The scene ends with Crowley placing the phone back on the hook-- indicative of understood, secure communication, the likes of which will be on display in the following scenes of the 2008 minisode.

Talking (in Ineffable Husbands Speak). Both verbal communication and physical communication. Talking means speaking. Talking also means making love.

"Trust me." What Aziraphale mouths at Crowley in 1941 to get him to be in the moment enough to be able to fire the gun. Absolutely one of the things Aziraphale said to Crowley to help him relax in Rome.

"I knew you'd come through for me. You always do."

Aziraphale pouring Crowley another glass of wine (and alcohol = sex) and the wordplay kink out here in full force as there are three levels of meaning happening at once. Surface level is about their success with The Bullet Catch earlier in the evening. Aziraphale knew Crowley would come through for him-- "come through" in the sense of he can always rely upon Crowley to be there for him when he needs him to be.

To "come through" something, though, is also to get through to the other side of something-- to have been able to pull through a difficult time or a struggle-- and refers to Crowley always coming out of dark periods and not giving up. But there's really also the third meaning, which is just the direct innuendo:

Some serious 'tone of voice' at play in this bit here performing a little magic trick and making that 'through' disappear right out of first sentence lol, turning it into: I knew you'd come for me. You always do.

Aziraphale's never going to stop being thrilled at their Roman triumph here and is still happy to remind Crowley in 1941 that they both know Aziraphale just does it for him.

"Well, you said 'trust me', so..."

Just prior to this, Aziraphale had been telling Crowley the magic words he silently said to keep the photo of them from Furfur (more fish-- "bananafish").

"Well, you said 'trust me'..." is Crowley saying "well, you said my magic words, so..." Aziraphale invoked Rome and talked to him so he got there.

"And you did." And Crowley did trust him, so it worked.

Aziraphale, though, is not just thinking about earlier that night in that moment in 1941 when he's staring off, reminiscing, before looking at Crowley like that...

...he's thinking about Rome.

"To drain the whole sea/Get something shiny..." Lyrics from Hozier's "Take Me to Church", pretty uniformly agreed as the most Crowley song that has ever Crowley songed, and which is on his official playlist in S2.

Pearls. The shiny things found in the sea. The jewels harvested from within the opened protective shell left behind by emerged oysters.

The original post referred to a bit in this one:

[closetsof-backlogged-dreams]

okay so I’ve seen and loved a bunch of these posts already but everything u say is immediately correct and amazing and sending u asks is the best

opinions on why zukka works and makes sense as a ship and if you think it could work in canon (outside of fanon)?

I CANT BELIEVE YOU JUST MADE MY ENTIRE LIFE COMPLETE AND FULL BY ASKING ME THIS QUESTIONNNN (strap in folks hold on to your hats keep a good hold on your bladders bc this is 10+ years worth of BUSINESS)

Why "Zukka" works and makes sense as a ship

something i've discussed THROUGHLY with my notes app and a school slides presentation is that Zuko and Sokka are both direct parallels AND contrasts to one another, at the same time. i'll list them out here:

Their fathers' roles in their lives

Both Hakoda and Ozai were the leaders of their respective nations, with Sokka and Zuko as the heirs. Then, they both become absent in their sons' lives and leave them to fend for themselves.

This is a parallel, but this is also where they contrast. Sokka's father left to go fight in the war, a noble and honest pursuit, and left Sokka to protect his sister and the village.

Ozai, on the other hand, cast Zuko out of the nation and forced him to protect and defend himself, while effectively turning all their people and his own sister against him.

Their sisters' roles in their lives

Despite both of them being the oldest sibling and brother, they both have severe inferiority complexes due to their younger, powerful bending sisters.

With Katara, she was the only waterbender in the entire tribe, a marvel. She could learn to protect the tribe in a way that Sokka had been trying all his life, and she eventually does. Despite all this, Katara is still a grounding and valued person in his life, and he would be completely lost without her (something he openly admits to in canon!!)

With Azula, she was a prodigy firebender, while also being a special kind of keen and cunning. She was adored by their father and grandfather and Zuko could never quite measure up. Because of this, Azula is the main villain in Zuko's childhood. She does everything she can to break him down, and that continues when she returns as a character in his life in season two. All throughout the show, instead of being a source of comfort and familial love, she is his main obstacle he must overcome.

The loss of their mothers

Both Sokka and Zuko lost their mothers at very young ages to the Fire Nation, but they had vastly different impacts on their families (and further developed their sisters' roles in their lives!!)

When Sokka's mother died, she was killed by a Fire Nation general. Katara quickly took over the motherly role in his life, cementing her place as a grounding and comforting force. Her death also did not break their family. It deeply hurt all of them, but Katara, Sokka, and Hakoda still loved one another just as much as before.

When Zuko's mother died (obviously not really, but this is what he believes for many years), she was "killed" in order for his father to ascend to the throne and become Fire Lord. This left Zuko without anyone to protect him from Azula's tormenting and cemented her place as a destructive, villainous person in his life. Ursa's death also did destroy their family. Whatever way she had managed to keep them all together was eradicated, and Zuko was left with a sister and father that resented him and a sister fighting for his place in the line of succession.

Their obessesions

Both Sokka and Zuko had two bone-deep obsessions that were very defining parts of their characters in the first season, that slowly wavered and faded away as the story progressed and they developed as people. They were both given these obsessions by their fathers immediately before they became absent in their lives (whether leaving themself or sending their son away) and proceeded to dedicate their entire life to these goals in the name of honor.

With Sokka, his father asked him to protect his sister and his village. Sokka then dedicates all his time and energy to becoming a brave soldier and training the children of the village in order to protect his people. This is seen further in season one even after they leave, when he is overly protective of Katara and constantly worried for her safety (something this fandom doesn't talk about enough!!)

With Zuko, his father sent him on a wild goose-chase to find the hundred-years-lost Avatar, and when he actually does, all he can do is chase after Aang so he can go back home. As we see in season three, letting go of capturing the Avatar was essentially letting go of his former self.

Unlearning their flawed cultures (the big one!!!!)

Both of their cultures had many flaws that became ingrained in their belief systems and characters; their whole development is dedicated to unlearning these flawed teachings and reorienting their perception of the world.

It is very obvious throughout the shows that the Water Tribe had strict gender roles that were both implicitly and explicitly taught from birth. The men go off to fight in the war, the women take care of the children, Sokka has to protect his "defenseless" little sister, etc. Suki helped start him on the journey of unlearning his deeply-rooted misogyny, and by the end of the series he's really drinking the Respect Women Juice™️ (unlearning the flaws of his culture also brought him much closer to his sister and strengthened their bond and respect for one another)

The Fire Nation is a lot more complicated with a lot more cultural nuances and implicit and explicit teachings, but we'll focus on one central cultural theme: the constant prioritization of ambition over absolutely everything else, including (if not especially) love. (I actually talk about this extensively in another analysis post about Azula, if you want to check that out<3) We see Zuko battle with this teaching all throughout the series, and it is the main conflict he faces, at its heart.

We watch him commit his entire life to capturing the Avatar in season one. We watch him betray his uncle in season two. We watch him, time and time again, put his own health and safety on the line trying to capture Aang, especially in season one. Constantly, over and over again, he puts his ambition first because that was what he was taught.

And though this is a trait him and Azula share, it is also what pits them against each other. Azula's entire character is built on putting ambition first, and that leads her to chasing the throne that is Zuko's birthright. Zuko just wants to go home, but that would reestablish him as the heir to the throne. Time and time again, we watch them fight and betray each other, constantly battling for this crown for a broken nation. In the end, it is Azula's undoing, but that's another post.

All in all, unlearning the flaws of their culture is central to their development as characters and a place where they parallel... but it is also a place where they directly (and perfectly) contrast.

Despite the cruelty of the Fire Nation, they are the only military that includes women. They seem to not really struggle with the same gender roles the rest of the world does. They may be colonizers, but they're not misogynists. Zuko never looked down on his sister because she was a woman, nor did her father. It was always her propensity for cruelty that undid her. (They even send a team of highly skilled women to capture the Avatar!!)

This is a direct contrast to the teachings of the Water Tribe, which are entrenched in misogyny and gender roles. The men go off to war, the women stay behind. The men are strong, the women are weak. Can you imagine how much Zuko could have assisted Sokka in his development here? (blah blah directly paralleling Suki's role in Sokka's life blah blah blah)

In the Water Tribe, love and family comes before everything. We see that time and time again. Sokka's main priority, every time, is his sister and his tribe. They stick together. They love one another. They are united, with one person leading them as a group but not standing over them like a tyrant. "Ambition" seems like a mostly unheard of concept in their nation. The only ambition we ever really see from Sokka is when he's trying to protect his tribe (season one finale)!!

Can you imagine how much Sokka could have helped Zuko unlearn his constant prioritization of ambition?? Like, come on. All the things Zuko was left to stew with and angst over all on his own Sokka could have gently taken into his own hands and shown him the way. Like, it actually makes me go feral just thinking about it. Sokka could have helped Zuko so much!! (pushing the Ba Sing Se Zukka AU rn)

Consensus

Okay, let's recap. It looks like Zuko and Sokka are both direct parallels and contrasts, paralleling in the ways that allow them to understand each other but contrasting in the ways that help them heal one another. Like, it's actually insane. I really don't know if it was intentional or not but it's really just so perfect. They slot together perfectly as characters. I hope this all made sense😭😭

Could "Zukka" work in canon?

Now, this is tricky. Believe it or not I'm actually really glad they didn't make Zukka canon. ATLA had a huge problem with writing good romance, and in the canon we saw in the show, neither Sokka or Zuko were in a place to get together.

I've enjoyed my fair share of Zukka AUs where they get together before the end of the war, but you and I both know that would have been a hot mess. (Both of them just weren't ready, they were both in relationships, and sorry but they were kinda busy—Katara was right about the whole "there are other things to worry about.") If they were ever to get together in canon, it would have to be years after the war ended.

Let's address a few things that needed to happen before they could ever have gotten together:

Finally admitting that Maiko was just an extreme example of comphet

Zuko did not give a single shit about that girl. Like. He didn't even personally go get her out of prison WHEN SHE WAS LITERALLY ARRESTED FOR PROTECTING HIM😭😭 And then they try to play off their story as some big epic romance?? uhhhh no

(really, Mai was in long-time unrequited love with Ty Lee that was finally requited after Boiling Rock but idk if society is ready for that yet)

Not to mention, Azula literally forced both of them into that relationship, but if I get started with that I'll never stop so. Moving on.

Figuring out Sokka and Suki

Okay, so while there is a good chance that Sokka and Suki could have made it work in canon, there is also a good chance they would have broken up. They both had very different priorities: while they both did care about overall world peace, it was obvious from Suki's first introduction that her Kyoshi Warriors were her top priority every time, and Sokka's was his tribe, his found family (Aang, Katara, Toph, Zuko, yk yk), and world peace at large. You're telling me those don't conflict? Especially because they really seem like a Piper/Jason situation, where they found comfort and love in each other during wartime but wouldn't have known how to keep up the relationship without the constant threat of death.

Overall, in order for Zukka to work, Sokka and Suki would have had to break up, which would not have been difficult to arrange.

Sokka needed to go home and begin rebuilding the Water Tribe

No matter how much I adore fics where Sokka stays behind in the Fire Nation and helps Zuko rebuild, it just wouldn't work. Sokka's obvious priority had always been his tribe. The second the war was over (ignoring the comics bc that's a can of complicated worms i don't want to get into), he would've gone back with Katara to work on rebuilding their destroyed tribe. Only once the Southern Tribe could stand steadily on its own two legs could he have even considered leaving.

Anyways, that's really it. In order for Zukka to work, three plot points would have to be resolved: Maiko, Sukka, and the reparation of the Southern Water Tribe. Extremely doable, imo.

Personality-wise and just as characters, would it have worked?

I really think it would have! Like I said before, Sokka and Zuko are two characters that perfectly parallel and contrast at all the exactly right points to make them slot together flawlessly as a pair. (Whether that's romantic or not—doesn't matter.) Really, I genuinely think they are a real missed opportunity. I have genuinely never seen two characters that seem so different that actually work that well together, or even just characters that work that well together at all.

Like, I really mean it, they are perfect matches. It's genuinely scary. Like it or not, no one will ever be able to replicate the perfection of what Zukka could have been.

Anyone that says that it's "random" or "doesn't work" obviously hasn't been watching the same show or simply just hasn't been paying attention. People might ship it just because it's opposites attract or red and blue or even just the most accessible MLM ship in the fandom, but they really are perfect for each other.

alright, I think that's it! sorry for this monster of a post😭😭 genuinely did NOT expect that to happen. PLS SEND ME ANY ASKS YOU CAN THINK OF ABOUT THESE TWO!! i have spent a concerning amount of time thinking about them and these show has analysis potential for days, so. (and who knows, maybe i'll finally post the like three unfinished fics i have for them💀💀 god knows i should)

thanks for the ask, and have a great day <3

[rosquinn]

Thoughts on the dr stone petrification scars

Big disclaimer,

This is just my personal thoughts and stuff I put together n noticed, a subjective interpretation, don't take it seriously Im probably wrong

Some of these are very elaborate while others are just me pointing out details I liked. Sorry. I'll start with the longer rants

This post contains characters (currently) exclusive to the manga and main plot spoilers. Maybe I'm looking to much into it but I swear to motherfucking God there's scar symbolism. anyway

Senku and Taiju

Something that always stood out to me is how similar their scars are both in shape and position, except that Taiju's is cut on the right eye and the points are on opposite sides. Now listen to me... Senku and him are opposites; one's big brained but physically a twig and the other one is the strongest most resistant man you'll ever meet but doesn't really understand anything about science. That's why opposite scars and why they need each other to go on... But their marks are in the same direction because they have the same goal and interests + deep down they're both extremely caring people who would do anything for those around them, despite how different and contrasting their personalities are at first glance.

Oh and Senku's marks are completely symmetrical and do NOT go away. Idk logic perseverance etc + Taijus are more coarse and asymmetrical. To contrast their way of thinking I think. They could be similar because they were the first ones to wake up from the petrification too but you know

Francois & the Nanami brothers

Francois' scar looks like explosion or sound waves. (Manga) Ryusui snaps his fingers to call them creating a similar shape, which is really cool I'll admit. Their scar is on their hand, just like Ryusui's.

So, both Ryusui and Sai also have scars on their hands, except Ryusui's may resemble a glove so pirate-like if we don't count the color + it's on the hand he snaps his fingers with. Mark resembling a rich man or a pirate's glove on the same hand he uses to call his butler and ask for service, and it only covers his fingers. Could be something like a symbol of power/status.

On the other hand, Sai's scars completely cover the lower part of his arms and hands, which are what he uses to code. Sai ran away in order to be able to schedule quietly and is completely locked in his work. Tell me you get it please

Yoo

I'm getting into crack theory with this but please do bear with me. His scar makes him look like Alex, the protagonist of A Clockwork Orange. A Clockwork Orange deals a lot with the theme of unscrupulous rebellion, hurting someone because you think you have complete freedom, and police brutality, which are big parts of Yoo's character. As far as I remember the eyelash marks are left on the MC after being forced to watch 484737 movies showing super beast crimes so he understands what he is doing is wrong and redeems himself. Yoo covers his face a lot to hide the mark and only removes the piece of stone that covers it at the end of the manga when he is 100% team Senku.

IN ADDITION, something important in A Clockwork Orange are the vulgar idioms and slang that teenagers invent and are completely unknown to the viewer and curiously the name and surname of Yoo are formed by informal interjections in Japanese. I've only read the book tho, never watched the movie so if I got anything about the eye marks wrong mb

Tsukasa and Stanley

I really like how similar their scars are, considering both were absurdly overpowered antagonists that had to be defeated using much more advanced science + both kill Senku at one point + their eyes are similar to some extent. I love parallels

Dr Xeno

Scar becomes? White? Splits into pieces? After he's revived a second time and decides to help Senku. Something about his ideals splitting/changing maybe. And being no longer evil thus willing to kill teenagers

Gen

Gen's scar seems to resemble a mouth that changes shape depending on whatever emotion he's feeling (or pretending to feel). I don't have anything else to say genuinely peak character design, specially taking into account that facades are a huge part of his arc and relationships with other characters (let's remember that he's the one to suggest everyone paints their scar again in solidarity with Senku. Hm).

Yuzuriha and Mirai

Yuzu's resemble the roots and vines that protected her body while she was petrified, while Mirai's make her look like a baby chicken breaking out of its shell. I think they're both cute details considering their characters:)

Homura

Considering she's a gymnast who uses her legs a lot to move, I find cool that it's on her thigh. It makes her legs look like they're cracking

Hyoga

Very circular and repetitive, something related to his weapon maybe. I find interesting that he covers them. Insert cursed speech jujutsu kaisen joke

Addition: Ukyo has no visible mark which is also cool on its own way, given that one of his abilities is easily perceiving sounds other people don't notice at all

[lurkingshan]

Cherry Magic Episode 12

MY HEART IS FO FULL. This adaptation has exceeded my wildest expectations to become one of my favorite bls of all time. They really put their backs into it and gave us everything we could want for these characters, and I will always be grateful. This show managed to be a faithful manga adaptation, a loving homage to the jbl, and a fresh take on the story all at once. An amazing feat to pull off and this creative team deserves so much love and kudos.

The way Achi and Karan have grown together over the course of this show has been fantastic to witness. I love how seriously the show took their growth, and that we got to see them put in the work to improve their communication and become a great team. Meeting the parents was a big step for them, especially because they were uncertain how their respective families would react, but I loved that they were so open with each other throughout about how they were feeling. I loved, too, that we got a contrast, with Achi's mom being so warm and loving (but still managing to get a dig in on her son, lmao) and Karan's being more avoidant and passive aggressive and needing a talking to her from her eldest child to get her shit together. I love that the drama created space for things to not go perfectly with the parents, and to show us that people can be moved to acceptance.

We got a bit of a parallel with that message in Jinta and Min's story this week, with Min's fans initially attacking Jinta, but backing off once Min named him as his faen and asked them to respect his relationship. I like the choice to model positive fan behavior, and it felt a bit pointed from this production company. Both with Pai and now with this new group of fans, the show has said consistently that being a fan should be about love and support, not control. That you can admire your idols but you also need to give them privacy. That it's not your place to judge who they love. I just love that message.

Of course, I have to talk about the mutual proposal and the wedding. I am pretty sure Karan has been carrying that ring around in his pocket since the second day of dating, but it was such a welcome surprise to see that Achi had already made his own plans, too. The show really succeeded in taking this relationship from something that felt a little one-sided to a very mutual partnership I can believe in. I teared up when right along with Karan when Achi followed Karan's proposal with his own, and you could see how much it meant to him to know that Achi is really truly on the same page. Getting to see their wedding and the love surrounding them on their special day was the cherry (lol) on top of this fantastic love story. I also absolutely loved the wink to the jbl elevator non-kiss in the way they framed their final married couple kiss and then cut away from the bed.

Continuing the love fest, I also love the changes this version made to the side couple's story. Min getting to fulfill his dream, Jinta being an excellent supportive partner, their agreement that they will marry someday when they're ready--it was all just lovely. The nod to the jbl pen proposal was cute, and I love that they took it a step further by drawing rings on each other. The flip in the sexual relationships was also quite welcome, with that triumphant arc reserved for the main couple in this version. Jinta ended the show with his magical powers still intact, but it didn't seem like that would be the case for long.

As for Rock and Pai, I am happy with how the show handled their story. To the end, Pai stayed true to herself, and Rock came to know her better and understand what kind of romantic relationship he could reasonably expect from her. She will always have her head more on her ships than on her own love life, and he seems okay with it. I think you can still take an aroace read on this Pai if you choose, and I appreciate that the show made space for that. I like, too, that Pai helped Rock reconnect with his own passion for dancing and find a fun outlet for his creativity. They were another reinforcement of this show's overarching themes about the importance of kindness, support, and clear communication in relationships.

This show left me with such a warm feeling. I'm so glad they stuck the landing, that episode 8 never happened, and that we can rewatch and remember this Cherry Magic so fondly. I never expected Thailand to go so above and beyond the original live action drama, but they have undoubtedly delivered my favorite version of this story.

[elen-tari2]

My Kastle Scene Wishlist

I’m not sure what Kastle content we might get in Daredevil Born Again, but there is also talk that they might make a new Punisher show. What are some scenes/parallels that you would like to see between Frank and Karen? Here’s a few of my musings

Reversed Hospital Scene! I would like to see Frank momentarily panic over Karen getting hurt and have a turn holding her hand in a hospital bed. I feel like we deserve this scene so bad. (Caveat: Frank CANNOT be the reason Karen got injured, even if it’s just she got shot in the arm or has a concussion; Karen is in dangerous situations regardless of Frank being near her or not and he needs a wake up call for that). Bonus points for the total opposite of telling her to walk way—this time HE GETS IN THE HOSPITAL BED and puts his arms around her and just holds her and Karen gets to feel completely safe for a few minutes. Just go all out with the hurt/comfort trope for these two. Anyway, I have a whole WIP fic devoted to this, so honestly it has become my top wish to see some parallels drawn with another hospital scene.

Karen gets to help in a fight and shoots someone. I feel like since they never got to have the Wesley conversation, a way to show-not-tell would be for Karen to kill a bad guy and then Frank come check on her to be like, ‘hey are you okay?’and she’d be like, ‘yeah, I am.’ She’d be a bit shaken up but grimly holding it together because it’s not her first time killing someone. This would also work in contrast to the scene where Amy shoots the guy in the hall and then Frank infamously takes the gun from her and takes the responsibility of his death away from her. Sorry to make Karen suffer because I know she’ll feel bad about it, but I’d be okay with seeing her character go a little bit darker to save someone’s life. She’s been carrying that gun since DDs2, she deserves to take out a baddie on her own and it’d be a great segue into rehashing some of her past that Frank NEEDS to know about

Frank meets Paxton Page. Will the show make time for this? Probably not. But damn do I want to know what Frank would say if he knew that Karen’s dad cut off his only daughter, when Frank would do anything—anything—to spend one minute with Lisa again. I’d love to see Frank go to Fagan Corners with Karen to put flowers on her mom and brother’s graves. We spent three seasons of Frank being able to open up around Karen and talk about his family with her. Meanwhile she has never once said anything about the losses she’s suffered. Frank needs to know and I don’t want it all jammed into one big backstory dump where she tells him she killed her brother and Wesley in the same conversation. Another option would be for Frank to accidentally visit Karen on the anniversary of her mom/Kevin’s death and she is having a breakdown. If we can’t get into any of Karen’s past, have Frank find out Karen has his burner phone saved in her contacts listed as Home. I’ve seen that idea in several different fics and it just needs to be canon. They are Home to each other.

A scene where Frank holds Karen all night and they don’t have sex, but it’s profound. (Think like Spike holding Buffy). If they are nervous about comics fans being mad about Frank Castle finding love again, give us some physical intimacy and closeness where you know they mean everything to each other but can’t cross the line and make things real. Fan fic writers will know we won and then fill in the rest for those cowards.

If they’re willing to make Kastle real, give us a goddamn kiss. Actually, just let them have sex, because Karen Page has been forced to stay chaste for YEARS and she deserves to get laid. And Jon Bernthal seems to be more than comfortable doing sex scenes soooo please just make it the most beautiful thing ever filmed because they are so in love with each other. It has to be noticeably different in tone from the scene with Beth. And Karen cannot get shot the next day, don’t even start with any of that bull$hit trauma for Frank.

Kastle pillow talk scene. Since it’s Disney Marvel now, I don’t know how much we can hope for with a sex scene. So the pillow talk scene that follows had better be some life-altering confessions of love and cuddles. Do not even think about him sneaking out before she wakes up like he almost did with Beth. Karen deserves something good to happen to her for once, let her have a perfect night and a gentle, soft morning after. She deserves it even if Frank isn’t sure if he does.

Karen Page and Dinah Madani Friendship. I’m rewatching The Punisher s2 and one thing that pissed me off was the scenes of fake bonding between Dinah and Krista Dumont, drinking wine together and discussing men (Frank and Billy, who else). So. To make up for that, we need some genuine female friendships, like Karen and Dinah going to a shooting range together or gym or going out to a nice bar for girls night. Even if Frank has been keeping his distance, these ladies have struck up a friendship and Karen has someone to hang out with besides her lawyer coworkers.

Karen gets to meet Micro/The Lieberman family AND Curtis. David knows how Frank really feels about Karen. Curtis needs to find out Frank DOES still have something good holding him in this world. And Karen should meet Frank’s friends.

Okay those are some of the scenes I want to see for Frank and Karen! If someone could please get this list to the Punisher writers for the future of the show, it’s actually very important that we get some of this or I’m gonna have to come write for the show myself. 🙈

[mykneeshurt]

Breath work

Am I a ghost simp? Damn right baby, since I played that menace back in 2009. All the edits on tik tok have gotten me feral and frothing at the mouth. He could break my neck and I’d thank him, so have a quick one from me (☞ ͡° ͜ʖ ͡°)☞

I have other ideas I’m working on, but I work full time so please bare with ✨

Feedback always welcome, I DO NOT own the mask line we all know and love, it was too good not to put in here. I DO NOT own any of the characters mentioned. I do not own the gif, credited on the tag line.

Warnings - breath play, vaginal sex, rough, unprotected sex, quick sex, no minors! Get outta here.

I tried to keep him the silent type, and everything he says I said to myself in his accent first lmfao to see if it sounded good 😂

The first time you met Simon ‘Ghost’ Riley was when you were introduced to Task Force 141, as a new Special Forces Sargent. The rest of the team welcomed you with open arms, keen to get to know you. John ‘Soap’ McTavish and you soon become good friends. But Ghost? Nothing. He barely even acknowledged you. You were all currently at base in Herefordshire, training whilst waiting for your next mission instructions.

Your down time was spent at the firing rage letting off some steam. It was early November so there was a chill in the air. As you led on your stomach lining up your target you took in a deep breath to steady your aim. Squeezing the trigger the shot fired and the butt of the gun kicked back into your firm shoulder. Bullseye. Smiling to your self you sat up on your knees taking in the clean morning air. ‘Not bad’ a gruff voice rang out behind you making you jump. Spinning around you saw Ghost stood before you, his intimidating frame casting a shadow with the morning sun.

‘Not bad?’ You asked completely offended, who does he think he is? He barely speaks two words to you and now he’s critiquing your marksmanship? You got to your feet in a huff and barged past him, placing your rifle on the table. He stood arms crossed against his wide chest, his biceps bulging underneath his khaki jumper. You stood drinking him in, all of him. He stood at roughly 6’2, towering above you and you 5’5 medium build. Thick strong thighs sat under his tight cargo trousers begging to be touched.

He let out a small sigh ‘yeah not bad, could do with brushing up on your breath work though.’ Was he actually doing this? You were a special forces Sargent who specialised in weapons? Sure he was good, you’d seen his record but was he as good as you? Surely not?

Scowling at him you crossed your own arms closing off your body, ‘fine, you can show me. Seeing as I’m clearly not up to your standard.’ Grabbing your rifle you walked back over to him slamming it into his chest. Fuck, you thought to yourself, his chest was rock hard. You felt heat rush to your cheeks as you let go of the gun, catching his gaze.

If you’d have known any better you’d say you saw a slight movement in his eyes indicative of a smirk. Ghost led prone on the floor, his right knee bent parallel to his hips. His ass looked phenomenal in that position, it was only when you heard 3 rounds go off did you avert your gaze back to the target. Damn, fucker was fast. Seeing him do that in the flesh was … something else. He peered over his shoulder at you, the white skull detail was stark contrast the black paint he kept on around his eyes. ‘Try again, I’ll help you’ he gestured.

Rolling your eyes you led next to him on the floor, you’d never been this close before. Your left arm brushed against his as you took hold of your rifle, your hip in line with his as you brought you knee up to position. You took aim as Ghost took hold of your shoulders slightly altering your position. His grip was firm, his large hands encasing your shoulders with ease. He trailed his hands to your ribs ‘breathe in’ he commanded. Taking a breath in to steady yourself was torture, you felt like you were going to explode. ‘Hold it here’ he said as he gripped your chest, your heart was pounding at his touch. As you held your breath at his desired depth you squeezed the trigger, one, two, three times. Hitting the bullseye again but this time it felt cleaner.

‘Better.’ He said finally letting go of your ribs. You let out a shaky breath, ‘thanks, sir.’ You mumbled, feeling him slightly tense next to you. If there was one thing you had noticed about Ghost, it was his eyes. Dusky blue peering out of his black skull balaclava which he never took off. They always seemed so empty, glazed over and yet always full of emotion. He never outwardly showed much emotion during missions, he and Soap were close and he trusted his team. Soap always told you about his great sense of humour, but he was yet to share that with you. You were nearly always paired with Gaz or Captain Price in the field.

Ghost got to his feet before helping you up, his firm grip on your hand and the ease he pulled you up with further made your heart pound in your chest. He’s your lieutenant, your superior, you shouldn’t be having these feelings … these thoughts. Your mind wandered to what his hands would feel like around your thro … ‘alright love?’ Ghost asked interrupting your train of thought. Flustered you let go of his hand and tucked a stray piece of hair behind your ear. ‘Oh, yeah, sorry, not with it today.’ Your hair was normally slicked back into a tight bun, as per regulations. But no one bothered you out here this early, so you’d wear your hair in a loose plait instead.

‘That was a good shot, hold your breath just like I showed you. You’ll be making cleaner shots in no time.’ You smiled up at him through your thick lashes. ‘How did you know I was down here?’ He visibly tensed, staring with his arms crossed across his chest, staring right at you. ‘I always know where you are.’ He replied bluntly.

He took a step forward closing the space between you, his gaze never faltered from yours. Your breath hitched in your throat and you instinctively took a step backwards. ‘W … what?’ You stammered, surprised but not afraid.

He reached forward and grabbed your belt pulling you into him, you slammed into his firm chest. He snaked his hand to the back of your neck, his gaze becoming suddenly more intense. You placed your hands on his abdomen, your nails firmly gripping his jumper. You could feel his breath beneath his mask brushing over your flushed skin. Short shallow breaths escaped your lips, as you searched his eyes for any clue of what he was thinking.

Nothing.

‘Simon?’ You stuttered beneath your breath ‘what are you doing?’ His hand cradled the base of your skull and neck, his thumb and forefinger adding slight pressure. His eyes darted from your eyes to your lips and back again, pupils dilated. Yet he still seemed un phased by what he was doing. You licked your dry plump lips, all moisture seeming to have escaped your mouth. His eyes flicked down again, if you hadn’t have been concentrating you would have missed it. His gloved hand still gripping onto your belt as he pulled you closer still. He brought his head to your ear ‘I 𝑎𝑙𝑤𝑎𝑦𝑠 want to know where you are’ he growled.

You clenched your thighs together, his deep voice ricocheting through your body. The tension between you two was building, something had to give. It was a matter of time of who would break first. His clean but musky smell invaded your nostrils further heightening how aroused you were. You looked up at him with doe like eyes, lips slightly parted.

‘Take it off’ you asked looking at his mask.

‘Negative.’

‘Why? Are you ugly?’ You smirked.

‘Quite the opposite’ he replied, sounding amused. Slowly you creeped your hand up his chiselled body, searching his eyes for any objection. As you got to the base of his mask you slipped a finger under the fabric, the pressure of the back of your neck increased. His eyes never straying from yours, fuck this guy is intense.

You slowly brought your other hand to the bottom of his mask and began to roll it up. His defined stubbled chin and full lips came into view. Slowly you traced your thumb around his lips, before slowly dragging your thumb on his bottom lip. Managing to get a glimpse of his white straight teeth. His grip on your belt tightened, so much so you could hear the crunch of the leather. His breath smelt like mint as it caressed your face. You traced your thumb again, this time placing your other hand on the side of his neck. His pulse felt steady, almost relaxed, because of course it did. His skin was warm and soft to the touch, as you grazed your nails along the back of his neck. You broke eye contact first, glancing at his lips, silently begging him to make to make the first move.

Without warning he dropped his hand from your neck to your ass and lifted you with ease. Coaxing you to wrap your legs around his waist, which you did without hesitation. He took a few steps before your back met with the brick wall of the shelter with a dull thud. The thud caused an involuntary moan to slip past your lips whilst you tried to catch your breath. As your lips parted Ghost met them with his own, his kiss tasted of pure desperation. Desperation to taste you, to feel you, to claim you. His other hand still cradled the back of your head, where he placed it to stop it from hitting the brick.

He led the kiss, opening your mouth with his, his tongue meeting yours as he tightened his grip in your hair. Breathless he pulled away ‘fuckin’ hell’ he muttered. Another moan escaped you as you caught your breath, tightening your legs around his waist. Begging for some friction to release the tension. ‘Dirty fuckin’ bitch’ he growled before reclaiming your mouth. He lightly tapped your thigh for you to get down, he lowered you to the floor not breaking the kiss.

As he kissed you, you heard a belt buckle rattle before he pulled your plait, forcing you to look at him. ‘I wanna see how good your breath work really is.’ He slowly wrapped his belt around your neck before pulling it tight, ‘that’s it’ he whispered in your ear in a low tone. He pulled the belt tighter until you had just enough room to inhale. You gripped his forearm, feeling his muscles tighten and he gripped the belt. Each fibre rippling under your fingertips. ‘Don’t touch the belt sweetheart, or I’ll stop.’

Nodding, he turned you around and pushed your torso into the red brick. He pulled your elbows behind your back holding them in his firm grip. His free hand slid under your top, his gloved hand grazed your skin. You just about managed to squeeze your vocal cords together ‘the glove … off’, you panted. Ghost placed the tip of his gloved finger on your lips, as you bit the tip of the glove he slid his hand out. Placing his hand once again on your stomach, this time the sensation of skin on skin burned through you.

He undid your belt and popped open your trousers, slowly working his hand inside. His fingertips brushed over your black lace panties, eliciting a gasp from your lips. He yanked your trousers down just below the crease of your ass. A sharp blow hit the right cheek before he pulled your panties down also. He pulled your hips back into him forcing you to stand at an angle, your cheek pressed into the wall. You could feel his gaze burning into you, ‘fuck … me’ you groaned through gritted teeth and a constricted throat. He caressed your thigh ‘patience love.’

An eager but exasperated moan left you as you looked over your shoulder at him. Silently pleading. He’d pulled his mask back down over his lips, once again becoming Ghost, looking back at you through hooded black eyes. Without warning he cupped your pussy, your eyes rolled back from the much needed touch. He let out a grunt of approval before sinking a finger into you. You arched your back into him, this wasn’t want you wanted, what you needed. What you needed was for him to fuck you.

Sensing this, he lined up his cock and thrust into you. Forcing you to take him in one go, it was the most pleasurable burn. Breathy moans filled the morning air between you. He steadied your hips with his hand as he quickly established a firm pace. Letting go of your elbows you placed them on the wall in-front of you for extra support. The shape of your body in this position drove him crazy. The defined muscles of your back peeking out from the bottom of your top, tensing with every thrust. He grabbed your wrist, guiding it down to your clit, instantly understanding you began rubbing firm circles.

He unexpectedly let out a small whimper from underneath his mask, he was close. ‘Good girl’ he praised, ‘just like that … fuck.’ You were close too, the pressure began building, your muscles becoming tighter. Hoarse moans left your throat, the belt feeling tighter and tighter. You came just before he did, clenching around his generous sized cock. He slid his hand under your top grasping at the untouched skin of your chest. ‘Please don’t stop’ you gasped, desperate for air. The pleading tone in your voice sent him over the edge. He came in your still pulsating pussy, filling you with his cum. You looked over your shoulder, eyebrows furrowed, meeting his eyes with a filthy smile on your lips as he filled you up.

His rhythm slowed until he eventually stopped, making sure every last drop was inside you. As he pulled out he watched as yours and his cum dripped out of your pussy slowly. Not being one for waste he trailed his finger up your thigh to push it back in, the feel of his finger sliding back in was bliss. He undid his belt from around your neck as you pulled up your trousers, a satisfied grin plastered on your face.

Your face still flushed you looked up at him ‘not bad Riley, but maybe I can help you with your technique.’